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Rule 53: Capturing Hippies, Spies, Politicians, and Murderers in an American Courtroom [Paperback]

Andy Austin (Author)
4.5 out of 5 stars  See all reviews (6 customer reviews)

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Book Description

April 25, 2008
No Cameras Allowed

In the late 1960s, new to Chicago and bored with the still life subjects she painted in her home studio, artist Andy Austin began wandering the city in search of surprises from life as it is really lived. Chicago delivered--with the color and drama of volatile times and larger-than-life subjects. The streets were alive with noisy demonstrations, against the war in Vietnam, and in support of issues ranging from civil rights to raises for schoolteachers. Austin sketched picket lines and protests and sometimes joined them, soaking up every detail with crystalline clarity. When she turned her skills to court drawing, her stunning ability to capture pivotal moments and revealing human interactions gave Chicagoans an unparalleled you-are-there view of trials and personalities that made headlines.

Rule 53: Capturing Hippies, Spies, Politicians, and Murderers in an American Courtroom is a vivid memoir by one of the country's best visual chroniclers of courtroom proceedings. Austin's gift for seeing essential details offers intimate glimpses of defendants like the Chicago 7 radicals, the Black Panthers and the El Rukns, serial killer John Wayne Gacy, and a parade of mobsters. In prose as deft and insightful as her sketches, she shares her portraits of the lawyers, judges, politicians, and others involved in cases she observed, salutes friends and colleagues, and shares personal experiences that influenced her unique perspective on local history in the making.

Andy Austin does a remarkable job as a Chicago courtroom artist, and in her book, the truth comes through as vividly as in her sketches.

--Studs Terkel, author and oral historian

I like Andy Austin's quick mind and quick eye. She sees the drama, the humanity and, yes, even the humor in Chicago's greatest theater--its courtrooms. Her memoirs, beautifully illustrated, provide an amazing look at the inner workings of America's most ebullient city.

--Jon Anderson, Chicago Tribune


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Editorial Reviews

Review

For those who think they've seen and read everything about what goes on in court, here is a new perspective: the engaging, incisive, and consistently interesting view of renowned courtroom artist Andy Austin. --Scott Turow, author

Gripping, beautifully written, Rule 53 is essential reading for anyone who wants to understand the tangled threads of the high-profile courtroom cases that have shaped our country's direction for the last four decades. Andy Austin, as ABC's Chicago courtroom artist, had a front-row seat at every major trial from the 1969 Chicago 7 spectacle through Muhammad Salah's recent acquittal on terrorism charges. For fans of Courtroom 302, and anyone wanting to understand how justice really works in America, Rule 53 is required reading. --Sara Paretsky, author

For years, Chicagoans have known Andy Austin as the brilliant courtroom artist whose sketches revealed not just the appearance of judges, lawyers, jurors, defendants and plaintiffs but their characters. Now it turns out that this brilliance has concealed literary brilliance. It seems that while Andy Austin Cohen was sketching away, her intelligence and sympathy were penetrating the nature of what was happening in the courtroom, the essential character of those involved, their relationship to each other and to the complex world in which they functioned or malfunctioned. She has worked for years to bring all this into a book and here it is, a triumph of sympathetic intelligence that reveals more about human beings than many a fine novel and is at least as engrossing. --Richard Stern, author

About the Author

Artist Andy Austin has been present at many of the most exciting and important trials in Chicago courtrooms over the last 40 years, drawing for the public the historic scenes that Rule 53 prevents cameras from documenting. She has honed the keen observational skills and humanistic eye that enliven her penetrating sketches over a lifetime of arts, adventure, travel, and extensive reading. Though long admired for her talent of capturing the world of the courtroom in images, it is now clear that her gift extends to the written word as well.

Andy Austin was born in Boston to an artistic father bred of puritans and sea captains and a mother from Chicago who attempted to be a proper hostess, including the night Salvador Dali showed up for dinner with a dead bird on his head. When she was thirteen, her family moved to Florida so her father could photograph polo ponies and society women. Having previously attended only private, all-girls schools, Andy found her two years at a large, co-ed public high school in Florida made a deep impression on her. After graduating from Shipley, a boarding school in Pennsylvania, Andy went on to Vassar College, where she majored in English and minored in philosophy (she took no art classes). She was accepted into Berkeley where she intended to do graduate work in Latin American studies, but after wandering around Europe for a summer, she was inspired to stay in Italy and studied (though she says that's too strong a word) art in Florence at the Accademia di Belle Arti. She enrolled in the School of the Boston Museum of Fine Arts when she returned to the United States.

That autumn she met her first husband, a Harvard Law School student. She gave birth to their son at the end of her second year in art school. They moved after that to Washington, DC, where her husband worked in the Justice Department while Andy stayed home and tried to paint. When the Berlin Wall was built, her husband's reserve unit was called up and suddenly their family was moved to Oklahoma for a year at Fort Sill. When he was discharged, they moved to Vienna, where he wrote music and studied conducting and she was a hausfrau. When they moved back to Chicago, her husband was hired as a music teacher at the Latin School just before Andy gave birth to their daughter. In 1969, when their son was nine and their daughter five, Andy was hired by ABC News to cover the Chicago Conspiracy Trial and has worked for the local television station ever since, her prolific career the subject of this book.

In 1994 Andy married Ted Cohen, a philosopher at the University of Chicago. They have traveled all over the world (Australia, New Zealand, Denmark, Poland, England, Scotland, France, Spain, Canada, Italy, Turkey, Germany, and Israel), often for philosophy conferences. She always draws at the lectures and, as she does, finds herself blissfully happy because she's provided what she loves most--new faces to explore accompanied by an interesting soundtrack.


Product Details

  • Paperback: 408 pages
  • Publisher: Lake Claremont Press; 1st edition (April 25, 2008)
  • Language: English
  • ISBN-10: 1893121534
  • ISBN-13: 978-1893121539
  • Product Dimensions: 8.8 x 5.9 x 0.7 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #1,335,724 in Books (See Top 100 in Books)

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Average Customer Review
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6 of 6 people found the following review helpful:
4.0 out of 5 stars The courtroom artist whose sketches speak as loudly as a camera, October 26, 2008
By 
David J. Hogan (Arlington Heights, IL United States) - See all my reviews
(REAL NAME)   
This review is from: Rule 53: Capturing Hippies, Spies, Politicians, and Murderers in an American Courtroom (Paperback)
Andy Austin is a chic woman who has been a Chicago courtroom sketch artist for 40 years. Her memoir is called RULE 53; the title refers to a federal statute that prohibits photography in courtrooms. Hence the role of sketch artists, who work with newspapers and TV stations to provide the public with not just the faces of specific participants, but the emotional essence of key moments as trials unfold. In court, Austin works in a style that might be called "disciplined sketchiness." She's very skilled at delineating character, particularly as expressed in her subjects' eyes. Over the years she's worked on a lot of high-profile trials: Bobby Seale, Abbie Hoffman, Tom Hayden and the rest of the Chicago 8/Chicago 7; disgraced Illinois governor Otto Kerner; inept American spy William Kampiles; conspiracy & murder proceedings against gangs as varied as the Mob and the El Rukns; arrogantly corrupt judge Thomas Maloney; and, most famously, perhaps, suburban serial killer John Wayne Gacy. As anticipated, Austin provides an ongoing primer on the responsibilities of courtroom artists. The job is a demanding and challenging one that must be performed well under ceaseless pressure. This aspect of the memoir is interesting and frequently dramatic, but the most profound pleasure is the sharp insight of Austin's prose. When describing a well-connected state senator named John D'Arco, Austin writes, "I was struck by how small and neat he was, like a well-designed pocketknife." She remembers that one witness at a Mob trial "came limping in on a cane. Hunched over in rumpled, pale silk clothes, hair parted in the middle like a 1920s movie star, he could have been a burnt-out playboy, someone you might see hobbling along the boardwalk at a second-rate European spa. He had an out-of-season look about him." Later, Austin describes "Toomba," an El Rukn member she'd sketched earlier, as now appearing "sleeker and more satanic. It wasn't just that he was dressed in black; it was because he wasn't wearing the big round glasses that had made him look like a schoolteacher. . . . now that I could see his eyes, he seemed more truly mad." And when recalling Bob McGee, a co-defendant in the Maloney case, Austin says that the man "looked worse than ever. Even his nose looked guilty. He kept trying to arrange his features in a neutral configuration and only made them worse." By any standard, this is sharp, incisive writing. The various picture and word portraits of Austin's subjects come together in a mosaic of courtroom procedure as it's carried out in Chicago, a city that punishes wrongdoing as vigorously as it sometimes rewards it. We come away with useful impressions of the roles of DAs and defense attorneys; judges and bailiffs; defendants and the aged "court buffs" who spend their days in the observers' sections, soaking up every detail and passing skewed judgment on participants who impress or disappoint them. The criminal justice system is complex, even baroque, but at the heart of it are real people who, knowingly or unwittingly, have revealed themselves to Austin's scrutiny. She misses very little.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars Great Read!!, May 30, 2008
This review is from: Rule 53: Capturing Hippies, Spies, Politicians, and Murderers in an American Courtroom (Paperback)
This is a fascinating picture of the underworld scene through the years from a unique perspective - a court room artist of great ability both as an artist and writer. It is a great read whether you are acquainted with the goings-on of the Chicago mob or not. The text is erudite and knowledgeable and the artistry fine, indeed. Run; don't walk, to find a copy
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5.0 out of 5 stars Best Chicago read on mobsters and crooked politicos, November 16, 2010
This review is from: Rule 53: Capturing Hippies, Spies, Politicians, and Murderers in an American Courtroom (Paperback)
This should be made into a movie!

I've read Rule 53 and now bought it for several friends. We all absolutely love it. The author was able to get across wonderful tidbits and really tell a good tale in the courtroom. All the while, it tells the story of Chicago's storied past, filled with mobsters and serial killers. You get a historical snapshot without it feeling like you're reading about history. The author keeps it dramatic and funny. At times, it can be pretty shocking. It's amazing what a courtroom artist -- someone whom killers and crooks confide in -- can pick up in a courtroom.
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