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The other bone Wolfe has to pick is with the proliferation of art theory, particularly the sort purveyed by postwar colossi like Harold Rosenberg, Clement Greenberg, and Leo Steinberg. Decades after the heyday of abstract expressionism, these guys make pretty easy targets. What could be more absurd, after all, than endless Jesuitical disputes about the flatness of the picture plane? So most of them get a highly comical spanking from the author. It's worth pointing out, of course, that Wolfe paints with a broad (as it were) brush. If he's skewering the entire army of artistic pretenders in a single go, there's no room to admit that Jasper Johns or Willem DeKooning might actually have some talent. But as he would no doubt admit, The Painted Word isn't about the history of art. It's about the history of taste and middlebrow acquisition--and nobody has chronicled these two topics as hilariously or accurately as Tom Wolfe. --James Marcus -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pressestimmen
"If you have ever stared uncomprehendingly at an abstract painting that admired critics have said you ought to dig, take heart. Tom Wolfe . . . is on your side. The Painted Word may enrage you. It may confirm your darkest suspicions about Modern Art. In any case, it will amuse you."--New York Sunday News
"Tom Wolfe is a journalist who always manages to combine an encyclopedic store of inside knowledge with the obstinate detachment of a visitor from Mars, not to mention a brilliant style and incisive wit."--San Francsico Chronicle
"The Painted Word may well be Tom Wolfe's most successful piece of social criticism to date."--The New York Times
"The Painted Word is a masterpiece. No one in the art world . . . could fail to recognize its essential truth. I read it four times, each of them with mounting envy for Wolfe's eye, ear, and surgical skill."--The Washington Post
"His eye and ear for detailed observations are incomparable; and observation is to the satirist what bullets are to a gun."--The Boston Sunday Globe
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He doesn't throw it all into the melting pots of history and preferences, but he does shed light on the trends and motives of artists, agents and critics, consigns the (gauping) public to the role of ignoramus at best and zombie at worst, and exposes the manipulative side of what is patently a financial empire with values which usually have nothing much to do with beauty and everything to do with status and greed.
The old adage: It's not what you know but who you know, rings particularly true in this book.
He confirmed what I had really known all along. He also restored my courage to say I don't care much for strange black streaks on blue canvases as high as a house even if Miro did paint them!
Is art all about the emperor's new clothes, after all? I wouldn't be surprised.
Art lovers: Know what you like? Find out why you don't like a lot of the garbage that is currently on display as art in the galleries, especially in New York City. Read this book.
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