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Chihuly
First edition originally published in 1997; second edition originally published in 1998 by Portland Press, Seattle.
The End of Art
Donald Kuspit argues here that art is over because it has lost its aesthetic import. Art has been replaced by "postart," a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity. Tracing the demise of aesthetic experience to the works and theory of Marcel Duchamp and Barnett Newman, Kuspit argues that devaluation is inseparable from the entropic character of modern art, and that anti-aesthetic postmodern art is in its final state. In contrast to modern art, which expressed the universal human unconscious, postmodern art degenerates into an expression of narrow ideological interests. In reaction to the emptiness and stagnancy of postart, Kuspit signals the aesthetic and human future that lies with the old masters. The End of Art points the way to the future for the visual arts. Donald Kuspit is Professor of Art History at SUNY Stony Brook. A winner of the Frank Jewett Mather Award for Distinction in Art Criticism, Professor Kuspit is a Contributing Editor at Artforum, Sculpture and New Art Examiner. His most recent book is The Cult of the Avant-Garde (Cambridge, 1994).
Idiosyncratic Identities
A collection of essays on idiosyncratic art.
Reflections of Nature
Sun-dappled carp, radiant blossoms, and tumultuous waters are among the wonders and mysteries of nature captured in Joseph Raffael's brilliant close-up paintings.
Don Eddy
Author Donald Kuspit calls Eddy a spiritual realist, acknowledging his work's peculiar mysteriousness, its enigmatic intensity. This beautiful monograph surveys the career of Eddy, a leading American realist painter, covering nearly four decades of his work. 93 colour illustrations
The Rebirth of Painting in the Late Twentieth Century
The Rebirth of Painting in the Late Twentieth Century examines the continued validity and variety of painting in the postmodern era. Bringing a psychological perspective to the issues, Donald Kuspit argues that painting remains the premiere medium of the visual arts. He discusses a range of representational and abstract painting in the United States and Europe by artists such as Gregory Amenoff, Vincent Desiderio and Odd Nerdrum, and also examines works by Picasso, Mondrian, Pollock, Johns, and Soutine, among others, with an eye to reevaluating their art historical significance.
Psychostrategies of Avant-garde Art
Donald Kuspit offers here an innovative psychoanalytic interpretation of avant-garde art, from its origins in the nineteenth century to its demise in the late-twentieth. Avant-garde art, the author argues, is a response to the conditions of modernity, particularly the crowd, which undermines and destroys the artist's sense of self. The avant-garde artist uses psychostrategies in order to restore his sense of self. These include a close identification with his medium, which becomes a 'signature substance' into which he escapes; making hallucinatory art in which he shows his own insanity, which becomes a way of escaping the pseudo-sanity of the crowd; or trying to transcend the crowd altogether by escaping into a world of abstraction, which functions in a religious way to afford an 'oceanic experience'. Drawing on numerous examples of avant-garde art, Kuspit makes extensive use of psychoanalysis, largely from British object-relational theory, to underline and elaborate his ideas. An extensive reinterpretation of Manet, officially the first avant-garde artist, and in whom all the various psychostrategies exist in seminal form, forms a keynote to this study.
Unrepentant Ego
The Walt Disney Concert Hall, designed by Frank Gehry and the new home of the Los Angeles Philharmonic opens in Autumn 2003. From its striking stainless steel exterior to the state-of-the-art acoustics of the hardwood-panelled main auditorium, the hall stand not only as a great architectural achievement, but as one of the most acoustically sophisticated concert halls in the world. architect selection process, construction and the completion of the building. Essays by leading architecture historians put the building into its historical perspective in the urban landscape of Los Angeles.
