Seventy-five of Peter Schjeldahl's engaging pieces on art from The New Yorker, published together for the first time. Distinguished critic at The New Yorker since 1998, Peter Schjeldahl has been described as America's most influential writer on art. Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind. Covering subjects drawn from a broad canvas of the history of art―from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin―the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves? With an imaginative introduction―twenty questions, each one posed to Schjeldahl by a different artist or writer―this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage. Coverage includes: • large-scale exhibitions at leading institutions around the world • shows at private galleries • profiles of prominent members of the art world • personal accounts of time spent with artists • the influences of museum spaces on our experience of art

Let's See: Writings on Art from

Arts & Photography

Schjeldahl, Peter

History & Criticism

Thames&Hudson

Distinguished critic at The New Yorker since 1998, Peter Schjeldahl has been described as America's most influential writer on art. Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction twenty questions, each one posed to Schjeldahl by a different artist or writer this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes: large-scale exhibitions at leading institutions around the world shows at private galleries profiles of prominent members of the art world personal accounts of time spent with artists the influences of museum spaces on our experience of art

LET'S SEE PA

Schjeldahl provides a sharp perspective on individual artists, their work, art-world events and ethics, and new, creative directions. Above all, he challenges established views, infecting readers with his passion for art. "To read Schjeldahl is not to agree or disagree, but rather to enter the enchanting flow of a fertile imagination".--Art in America. (HC:1991)

The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl, 1978-1990 (Lannan Series)

University of California Press

A collection of the essays of art critic and poet Peter Schjeldahl, which explores his thoughts on individual contemporary artists, their work, events and ethics in the art world and new, creative directions.

The hydrogen jukebox: Selected writings of Peter Schjeldahl, 1978-1990 (Lannan series of contemporary art criticism)

Baudelaire's famous description of "the best criticism" as "entertaining and poetic, not coldly analytic," lives in the essays of Peter Schjeldahl. Schjeldahl self-consciously continues the modern tradition of art criticism crafted by poet-critics, providing a sharp perspective on individual artists, their work, art-world events, and new creative directions. He challenges established views, and his infectious passion for art continually engages the reader. In essays on Rothko, Munch, Warhol, Dubuffet, Nauman, Sherman, Salle, de Kooning, Guston, Ruscha, and Koons, Schjeldahl skillfully juggles theory and analysis in exploring cultural context and technique. His writings, free of the contortions of some critical prose and characterized by a sustained focus on works of art, map the contemporary art scene in New York (with occasional forays to Los Angeles and elsewhere), cataloguing the colorful personalities, cultural attractions, and ethical hazards of the art world. It's a fast, fun trip, with arguments that fold back upon themselves in surprising revelations and reversals of the author's opinion. There is never a dull moment for those with an eye on contemporary art.

The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl, 1978-1990 (Lannan Series) (Volume 2)

STORR, Robert

Wilson, MaLin

Art of Our Time Volume 1

Rizzoli

Art of Our Time Volume 2

Art of Our Time Volume 3

Art of Our time. Volume 4. Includes: Bartlett, Borosfsky, Burton, Close, Fischl, Golub, Jenney, Jensen, Longo, Murray, Nutt, Rothenberg, Salle, Shapiro, Sherman, Winters..By Prudence Carlson, Lynne Cooke, Hilton Kramer, Kim Levin, Mark Rosenthal, and Phyllis Tuchman.

Art of Our Time, Vol. 4: The Saatchi Collection

Known for her life-size sculptures made entirely of beads, Liza Lou has had audiences and critics spellbound since her debut exhibition fifteen years ago. Liza Lou’s sculptures, room-size installations, and performances have been at the center of the art world’s bewilderment and awe since the unveiling of her first masterpiece, Kitchen, in 1996. A true-to-size replica of a kitchen in the midst of a museum gallery would hardly cause a stir, were it not for one important fact: the work is made entirely of beads. Eschewing the well-traveled path in art school to embrace the traditional mediums of painting or sculpture, Lou embarked on forging a body of work unlike any that had been seen before in the art world. In the nearly fifteen years since her auspicious debut, Lou’s work has developed from realistic room-size tableaux taken from everyday life—such as Backyard and Trailer, among others—to works no less monumental in construction and more sober in their themes, such as Security Fence and Cell. In this comprehensive volume devoted to her work, illustrated with two hundred photographs, writers, critics, and scholars explore her work in depth.

Liza Lou

Weschler, Lawrence

Heartney, Eleanor

Luard, Arthur

Skira/Rizzoli

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