By Libby Lumpkin.
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Book Description
Editorial Reviews
From Library Journal
Lumpkin, a recognized art historian and critic and currently curator of the Bellagio Gallery of Fine Art, Las Vegas, has produced something of an artist's book, so fine is this small volume in its appearance, typography, paper, and "deep design." The kernels of these piquant essays were each previously published and admired, and the tone and offbeat approach can be gauged by a few of the chapter headings: "The Smiley Face," "The Prohibition Symbol," "The Showgirl," and "Feminist Art III: Virtue Be Damned!" Underlying all the collected works is Lumpkin's comment that "design, historically associated with the artist's idea" has been too often put aside for discussion of art as philosophy; she calls for the full-scale triumph of actual art practice, forgoing outmoded conceptualism. An inspiring and provocative addition to academic collections.
-Mary Hamel-Schwulst, Towson Univ., MD
Copyright 2000 Reed Business Information, Inc.
-Mary Hamel-Schwulst, Towson Univ., MD
Copyright 2000 Reed Business Information, Inc.
Review
Deep Design is a dense, engaging, provocative little book. -- The Village Voice, January 18, 2000
All nine essays are so distilled and compact as to defy condensation and easy explanation. You just have to read these little roller coasters of perception and thought. -- ArtByte, March/April 2000
Lumpkin has effectively created a manual for looking; her essays renew confidence in the eye's ability to extract intelligible meaning from the visual world. -- City Life, Las Vegas, February 24-March 1, 2000
She knows art theory and history well but doesn't let it get in the way of clearheaded commentary. She makes novel connections that ground art history in the most ordinary icons. -- The San Diego Union-Tribune, December 3, 1999
All nine essays are so distilled and compact as to defy condensation and easy explanation. You just have to read these little roller coasters of perception and thought. -- ArtByte, March/April 2000
Lumpkin has effectively created a manual for looking; her essays renew confidence in the eye's ability to extract intelligible meaning from the visual world. -- City Life, Las Vegas, February 24-March 1, 2000
She knows art theory and history well but doesn't let it get in the way of clearheaded commentary. She makes novel connections that ground art history in the most ordinary icons. -- The San Diego Union-Tribune, December 3, 1999
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