> Ebook , by Tom Wolfe - Painted Word (1977-01-16) [Hardcover], by Tom Wolfe

Ebook , by Tom Wolfe - Painted Word (1977-01-16) [Hardcover], by Tom Wolfe

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, by Tom Wolfe - Painted Word (1977-01-16) [Hardcover], by Tom Wolfe

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• Published on: 1977-01-16
• Binding: Hardcover

Most helpful customer reviews

141 of 148 people found the following review helpful.
Number One book in my top ten of all time art books
By F. Lennox Campello
Can I start by saying that this book "saved my art life"? Let me explain. In 1977 I started art school as a not so impressionable 21 year-old with a few years as a US Navy sailor under my belt. But in the world of art, there's a lot of moulding and impressions being made by a very galvanized world. And although I was a few years older than most in my class... I was probably as ready as any to swallow the whole line and sinker that the "modern art world" floats out there.
Then I read this book - it was given to me by Jacob Lawrence, a great painter and a great teacher --- although I didn't get along with him too well at the time. I read it (almost by accident and against my will --- it was a get-a-way "love weekend" with my then-girlfriend - it went sour. And this book OPENED my EYES!!! It was as if all of a sudden a "fog" had been listed about all the manure and fog that covers the whole art world.
I used it as a weapon.
I used it to defend how I wanted to paint and feel and write. And it allowed me to survive art school.
And then in 1991 - as I prepared to look around to start my own gallery - I found it again, in a gallery (of all places) in Alexandria, VA. I read it again, and to my surprise Wolfe was as topical and effervescent and eye-opening as ever!
Wolfe has a lot of bones to pick with the art world -- 25 years ago!!! He destroys the proliferation of art theory, and puts "art gods" like Harold Rosenberg, Clement Greenberg, and Leo Steinberg (who have ruined art criticism for all ages - by making critics think that they "lead" the arts rather than "follow the artists") into their proper place and perspective. He has a lot of fun, especially with Greenberg and the Washington Color School and their common stupidity about the flatness of the picture plane.
Here's my recommendation: If you are a young art student or a practicing artist: SAVE YOUR LIFE! Read this book!

59 of 65 people found the following review helpful.
Satire? No --
By wiredweird
That would require some element of fiction. This is simply a straight telling (well, almost straight) of the taste-makers and -breakers in the New York art scene of the 1950s to mid-70s. It's already so ludicrous, so filled with poker-faced parodies of sane discussion, that fiction wouldn't be nearly as strange. It's the complete domination of analysis over analyte.

This short book (100 pages, including some amusing cartoons) lampoons the whole theory of art theory as it arose in the salons and saloons of that era. It briefly traces the never-ending search for the new, a Red Queen's race since whatever we have today isn't new enough. In a bizarrely involuted turn, he even describes the rise and fall of different tastes in taste-makers.

If you've ever groaned at the solemn silliness of the intellectoid analyses or nihilist (lazy?) "Conceptual" artists, you'll laugh out loud at Wolfe's descriptions. He runs through the artsy buzz-wording like a buzz-saw.

//wiredweird

22 of 24 people found the following review helpful.
Theory As Art As Theory As...
By benshlomo
Well, here we go - time to criticize a culture critic. Try saying that three times fast.
Anyone who knows anything about Tom Wolfe will know exactly what to expect from this 1975 exploration of the 1950-1970 Art World. Considering that he's always on the lookout for something funny to say, he does quite a good job, probably because the Art World is apparently a pretty funny place. Then again, that's always true of any insular group that develops its own vocabulary and learns to take itself too seriously.
According to Wolfe, that judgment applies equally to the artists, their critics, and the small world of collectors that support them both. He uses as an example the following cycle: Jackson Pollack and Willem de Kooning paint a few pictures using mere blobs of paint. At about the same time, Clement Greenberg and Harold Rosenberg conclude in their columns that painting must naturally go in the direction of increased "flatness" to fulfill its destiny (and they do, in fact, write in such semi-apocalyptic terms). To illustrate their point, Greenberg and Rosenberg talk up Pollack and de Kooning. Art patrons in Milan, Rome, Paris and New York read the columns and get interested in Pollack and de Kooning. Thus encouraged, these artists paint even flatter paintings, Greenberg and Rosenberg chat them up even more in their columns, the Art World gets more excited, and round and round we go until a guy named Leo Steinberg smashes into the cycle. He declares that they've got it all wrong, the true "flatness" exists in the Pop Art of Jasper Johns and Robert Rauschenberg, and the whole thing starts all over again. Only with even more feverish declarations of theoretical orthodoxy this time.
Eventually, of course, the theory becomes far more important in the Art World than the paintings. This gives rise to Op Art, Happenings, Conceptual Art, and the world we live in today wherein the answer to the question "What is Art?" is "That which we find in Art Museums."
Wolfe splashes all this high comedy around in a truly scrumptious style, full of exclamation points. Behind the rhetoric, I suspect, is a man who thinks very highly of himself, but what else can we expect from a culture critic? Fortunately, what with all those exclamation points, it's fairly clear that Wolfe doesn't really take himself all that seriously, so his work is much easier to enjoy than it otherwise would be.
Even more interesting than the language, however, is the odd feeling one gets from The Painted Word that Wolfe doesn't think of the mid-century Art Follies as necessarily a bad thing, or even bad art. And indeed, who says that Art Theory is anything other than Art itself? Why criticize this development? Why not just enjoy it?
So in his last few pages, Wolfe predicts a retrospective in the year 2000. Instead of the paintings, this retrospective presents the true Art of the 1950's-1970's - the columns of Greenberg, Rosenberg, Steinberg, and whatever other Bergs in enormous reproduction, with tiny illustrations of the paintings in question next to them. As I write this, such an exhibit is nowhere yet to be seen, but that may only mean that Wolfe is smarter than the average museum curator (a supposition I can neither confirm nor deny). Be that as it may, Wolfe's craft is undeniable - sarcastic, informed, bitchy, and overwhelmingly funny. If the Word is Art, then the hyper-serious Greenberg, Rosenberg and Steinberg are mere wannabes. Wolfe, like Groucho Marx, is an Artist.
Benshlomo says, in the words of William Shakespeare, better a witty fool than a foolish wit.

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