Some readers will find cause for disagreement, but these fun-to-read essays delight, intrigue, and, most of all, educate.
Idiosyncratic assessments of contemporary women painters, sculptors, and installation and performance artists by an enfant terrible of art criticism.
Hickey (Pirates and Farmers: Essays on Taste, 2013, etc.), now 74, has been a thorn in the side of art criticism for years. In “A Ladies’ Man,” the introduction to this admirable collection, he admits loving women, his most favorite people. The essays have no agenda or art politics and little feminism: “There is a lot of euphony, death, vogue, fanciful narrative, and fugitive nuance.” The author often talks about the art by talking about something else, “lest writing shatter the art like a fragile leaf in clumsy hands.” All of the artists are alive and working except Sarah Charlesworth and Joan Mitchell, one of Hickey’s favorites. Her abstracts, like “classical epigrams…intertwine the light and dark, the petulance and grandeur.” Rowdy and fearless, she “got into the same car everyone else did,” but she “drove it in the opposite direction, back toward the hard, Godless specifics of living.” Hickey’s writing is clever, straightforward, and honest. Literary quotes abound. He draws on Gilles Deleuze’s concept of “plasticity” to describe the “bounded experimentation” of Bridget Riley’s paintings, which destabilize the “entire zone between the beholder and the work.” Readers will no doubt discover artists they aren’t familiar with, such as Fiona Banner and her 2010 installation piece Harrier, in which the British plane hangs from the ceiling like a captured bird. Lynda Benglis’ vertical wax landscapes seemingly ooze out of a wall, and Michelle Fierro’s set pieces, “mandarin grunge,” create “Zen gardens out of painting’s refuse.” Vanessa Beecroft’s performance pieces, like vb45, deploy the “rhetoric of painting in the space of sculpture,” positioning women, often nude, in various poses for hours at a time. Hickey has piquant, insightful things to say about all of these artists.
Some readers will find cause for disagreement, but these fun-to-read essays delight, intrigue, and, most of all, educate.Pub Date: Jan. 28, 2016
ISBN: 978-0-226-33315-1
Page Count: 192
Publisher: Univ. of Chicago
Review Posted Online: Nov. 18, 2015
Kirkus Reviews Issue: Dec. 1, 2015
BOOK REVIEW
IN THE NEWS
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
PERSPECTIVES
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