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Parkett No. 83: Robert Frank, Wade Guyton, Christopher Wool Paperback – October 1, 2008


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About the Author

Robert Frank was born in Zurich in 1924 to parents of Jewish descent. He immigrated to the United States two years after World War II ended, and since then he has produced work that changed the history of art and photography. Groundbreaking projects include The Americans, Lines of My Hand, Black White and Things, Pull My Daisy and Cocksucker Blues. Frank was the subject of a major retrospective organized by the National Gallery of Art, Washington, in 1994. He was the recipient of the Hasselblad Award in 1996. A major exhibition organized by The National Gallery of Art, Looking In: Robert Frank's "The Americans," will tour nationally in 2009, with stops in Washington, San Francisco and New York.

Christopher Wool was born and brought up in Chicago. In the early 1970s he moved to New York, where he studied painting intermittently and worked as an assistant to the artist Joel Shapiro. His first show was at the Cable Gallery, New York, in 1984. Since then he has exhibited internationally, including the 1989 Whitney Biennial, Documenta9, Birth of the Cool, the Museum of Contemporary Art in Los Angeles, Kunsthalle Basel and the Secession Gallery in Vienna.
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Product Details

  • Series: Parkett (Book 83)
  • Paperback: 300 pages
  • Publisher: Parkett (October 1, 2008)
  • Language: English
  • ISBN-10: 3907582438
  • ISBN-13: 978-3907582435
  • Product Dimensions: 0.8 x 8.5 x 10.2 inches
  • Shipping Weight: 2.2 pounds (View shipping rates and policies)
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,386,035 in Books (See Top 100 in Books)

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This is a thick (about 300 pages) art magazine. The essays are in English and German - ergo the bulk. Generally, they are well designed, eye catching, with some nice reproductions (most are in black and white though). They are pricey, especially when you can purchase a full-color, wonderfully designed Artforum or Art In America magazine for $10. For me, the writing is the real problem. Several essays are written in the impenetrable, post-modern (?) style far too common in art and poetry criticism. I am not a fan of this type of writing. If someone has to write a book explaining what you wrote, then there is an obvious problem. This stuff infects much cultural criticism, and reminds me of a modern "Tower of Babel". It literally makes no sense. I doubt the authors, if pressed, could explain their ideas - and if they could explain them clearly, the next question would be: why didn't you just write it in clear, understandable English in the first damn place?! I'm a college graduate, well-read, and my job is to write instructions for highly technical operations, but a lot of art criticism is not worth the effort. Also, much of it seems nihilistic ... but that's a whole other discussion.

Here's a bit from an essay on Christopher Wool (who must laugh all the way to the bank!): "These "tiny deportations" result in an experience of time rather than depth as an index emerges from the mix of clouded gesture and lacerated crossings, one that makes a positive of cancel and activates Wool's propulsive vision of null and void further into the frame with each pass" ... ?? WTF. I think that means many of his paintings are silly decorative scribbles. Who knows.
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Parkett No. 83: Robert Frank, Wade Guyton, Christopher Wool
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