- Gebundene Ausgabe: 271 Seiten
- Verlag: Penguin Books Ltd
- Sprache: Englisch
- ISBN-10: 0670819794
- ISBN-13: 978-0670819799
- Größe und/oder Gewicht: 21,9 x 15 x 2,7 cm
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From Library Journal
This is a highly politicized writer's first-person account of his discovery of Golub's works and long-lasting friendship with the famous Jewish-American artist. To be convinced that Golub's reputation as a solitary near-genius is indeed merited, look elsewhere, e.g., Donald Kuspit's Leon Golub: Existential-Activist Painter (Rutgers Univ. Pr., 1985). Here readers must slough through Marzorati's pages of dogmatism and unremarkable visual reportage. He repeatedly attempts to put words into Golub's mouth and to turn the political artist Golub into a rabble-rousing illustrator. Nevertheless, Marzorati's years of recording the artist's conversations, presumably accurate in the telling, are an extremely valuable resource. The section on Golub's attending the Oliver North testimony at the Iran-Contra hearings is memorable. Recommended for specialized collections and those with other materials on Golub.
- Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1990 Reed Business Information, Inc.
- Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1990 Reed Business Information, Inc.
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Too Much Politics - Too Little Painting
21. Juni 2011
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
This book on Leon Golub - who I knew briefly when he came to see me in my studio in New York - is interesting, particularly at the very beginning as Gerald Marzorati describes seeing Golub's work for the first time in a now famous show of his "Mercenaries" at the Susan Caldwell Gallery. But it could have been better. Way too much time is spent describing the various political situations happening around the world at the time and which interested Golub. Well anyone who buys this book - like myself - is well aware of all that. And anyone not aware of it is not likely to care about Golub and his work.
The descriptions of Golub's working methods are interesting and Marzorati tries for drama by describing if a painting will ultimately succeed or fail after a long time of painting and re-painting. But the illustrations are poorly chosen and too many in black and white. Often Marzorati will go on and on about a painting that can't be found or identified in the illustrations. All very frustrating for those trying to follow along. The book is kind of a low-budget affair of a low-budget painter who for a brief time made world class paintings.
The descriptions of Golub's working methods are interesting and Marzorati tries for drama by describing if a painting will ultimately succeed or fail after a long time of painting and re-painting. But the illustrations are poorly chosen and too many in black and white. Often Marzorati will go on and on about a painting that can't be found or identified in the illustrations. All very frustrating for those trying to follow along. The book is kind of a low-budget affair of a low-budget painter who for a brief time made world class paintings.
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