Books

  • Photographers on Photography

    Photographers on Photography, edited by Nathan Lyons (Prentice Hall [in collaboration with George Eastman House]), 256 pages, illustrated.

    MR. LYONS HAS FASHIONED HIS BOOK in three parts: complete texts of the photographers’ articles; a carefully researched section of biographical notes and bibliographies; and his own comment, which consists solely of selected reproductions from the writers’ photographs.

    These three sections are not independent; they interact to provide statement, context, demonstration and their permutations, the whole forming a symposium, an extremely successful example of that

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  • Aaron Siskind

    Aaron Siskind, edited and introduction by Nathan Lyons, with essays by Henry Holmes Smith and Thomas B. Hess. Eastman House, 1965.

    Aaron Siskind, alone of those major artists whose germinal works constituted the ground for the central esthetic dialogue of the postwar age, chose to work solely in the photographic medium. The complete relevance of his accomplishments in photography to those in the other art disciplines have caused him to occupy that unique position which has been vacant since the death of Stieglitz.

    His historical credentials for this position are of course impeccable. They include

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  • Meditations on a Hobby Horse

    Meditations On A Hobby Horse by E. H. Gombrich, Phaidon, London 1963: E. H. Gombrich is a remarkable art historian who has increasingly concerned himself with the reciprocal relationships between art and perception. Or more precisely, he is interested in what happens when we look at pictures and how our eyes and minds are set to work by objects which are mental and sensuous amalgams in their own right. This has led him, in his famous “Art and Illusion,” to discuss such matters as the theory of representation, the psychological conditions of sight, and the nature of visual communication. One of

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  • Francis Bacon, The Golden Age of Spanish Sculpture, 100 European Drawings in the Metropolitan Museum of Art, Soutine

    Francis Bacon by John Rothenstein and Ronald Alley. Viking, New York, 1964.

    It has often been noted that writers never seem to live up to their pre-Nobel Prize performances, and that the Academy Award is usually the kiss of death to an actor’s career. One can only hope that Francis Bacon can survive this strange tribute of a catalogue raisonne of what one hopes will only be a frac­tion of his output. The book surveys and documents Bacon’s entire career, from his early abstract works (we have come to that) to the summer of 1963. An excellent selection of color plates is backed up by over 250 black

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  • Arshile Gorky

    “Arshile Gorky,” by Harold Rosenberg. Horizon Press, lnc., New York, 1962, 143 pgs.

    One writer recently expressed the idea that the proper attitude for the critic of contemporary art is that of “sympathetic interest,” (a phrase which Mr. John Canaday immediately took to task as smacking of partisanship, or at least the opposite of his own favorite myth, “objectivity”). The phrase is a particularly apt one. The honest critic must sooner or later weary of sett ing up standards and theories which the very next canvases by his favorite artists knock over like so many wooden bottles. Particularly in

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  • Embattled Critic

    “Embattled Critic” by John Canaday. Noonday Press, N.Y., 1962, 238 pgs.

    When a group of some 50 artists and critics wrote to the New York Times questioning Mr. Canaday’s fairness, the Times received 600 letters from its readers, 550 of which supported Mr. Canaday. His book was greeted with full-page pleasure on the art pages of Newsweek Magazine. His voice is undoubtedly the voice of millions. BLit Mr. Canaday, nevertheless, insists that he is “the embattled critic.” To understand this, we must first of all grasp that Mr. Canaday’s view of recent American art is fundamentally that of a Great

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  • French Painting from Fouquet to Poussin

    French Painting from Fouquet to Poussin by Albert Chatelet and Jacques Thuiller: At hand is the new Skira book, “French Painting from Fouquet to Poussin,” by Albert Chatelet and Jacques Thuiller, containing 226 pages, of which 109 hold color reproductions. There is a good, up-to-date bibliography and a useful general index. Actually, this is one of three books by these authors who intend to comment on the entire corpus of French painting in these works, a formidable obligation. The present volume covers some 250 years from the rise in the early Renaissance of independent painting in the works

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  • BOOKS RECEIVED

    Edward Ruscha, Every Building on the Sunset Strip (Privately Printed, Los Angeles), 27' long (when unfolded), boxed.

    TWENTY-SIX GASOLINE STATIONS (see Artforum, v. II #3, pg. 57) turns out to have been the first of a series of “little books” privately produced by Los Angeles artist Edward Ruscha. It was followed by Various Small Fires and Milk (photographs of various small fires and a glass of milk at the end), Some Los Angeles Apartments (photos of some Los Angeles apartment buildings) and now, Every Building on the Sunset Strip (photographs of every building on the Sunset Strip). As in the

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