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Defending Complexity: Art, Politics and the New World Order
 
 
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Defending Complexity: Art, Politics and the New World Order [Paperback]

Eleanor Heartney (Author)
3.0 out of 5 stars  See all reviews (1 customer review)


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Book Description

1889097667 978-1889097664 August 25, 2004
This book looks at art and politics from a variety of standpoints, among them, the failures and successes of art and religion, globalism and economics, the dangers posed by paranioa and censorship to our vision of free expression.

Product Details

  • Paperback: 300 pages
  • Publisher: Hard Press Editions (August 25, 2004)
  • Language: English
  • ISBN-10: 1889097667
  • ISBN-13: 978-1889097664
  • Product Dimensions: 8.9 x 5.9 x 0.6 inches
  • Shipping Weight: 9.6 ounces
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,532,534 in Books (See Top 100 in Books)

 

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4 of 4 people found the following review helpful:
3.0 out of 5 stars Half and half, with much worth reading, April 20, 2006
This review is from: Defending Complexity: Art, Politics and the New World Order (Paperback)
"Defending Complexity" is a compilation of thirty-four short pieces written between 1995-2005 by art critic Eleanor Heartney. These are mainly exhibition reviews published in the magazine "Art in America", with venues such as the "New York Times" and "Washington Post" also represented. About half the essays are, unfortunately, somewhat inert as reprints, being mere chronicles of a particular exhibition rather than really delving into any issue surrounding the art. The other half are more articulate. The best of these involve stimulating commentary on the art and its issues, including several discussions of art as highlighting views toward religion, the disturbing double standard of morality and morbidity accused of artists attempting to deal thoughtfully with death versus the glorification of death as a spectacle in the mass media, museum politics and the trend toward theme-park-like sensationalism, how the available imagery shapes our impressions of war, and much more. The book is not as 'governmentally' political as its cover and titling makes it seem, although it does make references to current world events in several of the essays, and Heartney purports to see a definite difference between her pre-911 and post-911 essays that isn't quite apparent on reading them. But overall, what's good in here is worth reading, vigorous and stimulating and ready to inspire some lively art conversations.
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