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A poignant companion work to an important and significant exhibition and an essential contextual experience for librarians, students, artists, museum educators, historians, and the general public.
Fans of both Carrington and Moorhead, as well as the newly curious, will snap up this nicely paced introduction to a famous surrealist artist/writer, which is also an account of a deepening familial relationship. What makes this unique among the plethora of books about Carrington is Moorhead’s personal and reflective perspective of family and shared space, despite some distance and time.
This is an attractively illustrated global travelogue featuring a selective group of contemporary Black artists with a slim, interpretative look at theme and technique based on information culled mostly from websites and a few recent texts. A handy, colorful start for art students in particular, to explore how Black culture is being redefined through popular expression.
This carefully organized exposition is light on the sensational and, while not strictly scholarly, contains heady discussion on many facets of this captivating topic that apparently is here to stay. The discussion moves from academic to casual and vice versa in sometimes distracting ways, but those looking for a multidisciplinary approach may not mind the occasional large dose of philosophical fascination.
For those who can’t travel to Madrid, Paris, or Basel to see the O’Keeffe retrospective, this beautifully designed volume will satisfy. Also for readers who want to learn about O’Keeffe’s technique, studio practice, mentors, and the art world around her; soak in her particular response to nature; or merely spend time with the soothing qualities of her oeuvre.
With this compact trove of contemporary photographs juxtaposed with Van Gogh’s artworks, homes, and friendly commentary, the intensity of the artist’s life will go down more easily. Van Gogh fans will enjoy walking in his footsteps, and it will surely inform new audiences as well.
For Kahlo fans, not scholars. Devotees may wrestle with the author’s in-depth analysis while appreciating its informal voice. Though there are some updated facts provided since Herrera’s biography, the latter is more scholarly and better organized. Readers here can expect a more casual if not meandering narrative of Kahlo’s own adventurous sojourn to “Gringolandia” and back.
With this work, a new generation of students, feminists, and art lovers will discover one of the first women to have a solo show at the Museum of Modern Art as well as better understand her relevance and appeal today. This should sit nicely next to earlier retrospective catalogs by Barbara Rose and Robert Carleton Hobbs.
A must for those seeking an intimate documentation of the life and times of this first-class, popular artist. Hills expertly places her subject in history, with his tales of the champions as well as the commonplace.