Attracted to Light by Doug Starn  (3)
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Editorial Reviews
From Publishers Weekly
"The Starn Twins" are relatively new to the art world yet have been featured in Boston and New York shows and in the 1987 Whitney Biennial, which established them as promising talents and an innovative force. These young men have challenged traditional photography by cutting, tinting, creasing, tearing and reassembling prints. Their emphasis on building up surfaces with layered materials and tape, quoting portions of paintings by old masters such as Rembrandt and da Vinci, and maintaining a beauty in their work reminiscent of romanticism is highlighted in this collection of 92 of their pieces, all reproduced in color. The wonderful prints of finished work and the black-and-white photographs of their Brooklyn studio kindle enthusiasm and admiration. New York Times photo critic Grundberg here interviews the brothers, analyzes the thematic content of their photographic collages and contrasts and compares their work with that of Robert Rauschenberg, Gilbert and George, Joel Peter Witkin and Cindy Sherman.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Their complex and arresting use of multi-media imagery has made the Starn twins the wunderkinds of the contemporary art world. They work as a unit, appropriating and recasting subject matter from a broad pool of art historical sources. Generally they begin with photographic images and add paper, plastic, chemicals, and other elements to treat their composition. Starn topics range from details of organic forms to double takes of persons or objects. They made a stir at the Whitney Biennial of 1987, and New York Times photography critic Grundberg's text continues this adulation on a grand scale: his monograph is a clearcut attempt to anchor their reputations as modern stars of the art scene; an introductory essay by eminent art historian Robert Rosenblum takes a similar approach. Fortunately, the Starn brothers' work is vivid and interesting enough to justify this attitude, and the plates in this book do justice to their collaboration. Recommended for art school libraries and contemporary art collections-- Paula A. Baxter, NYPL
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
"The Starn Twins" are relatively new to the art world yet have been featured in Boston and New York shows and in the 1987 Whitney Biennial, which established them as promising talents and an innovative force. These young men have challenged traditional photography by cutting, tinting, creasing, tearing and reassembling prints. Their emphasis on building up surfaces with layered materials and tape, quoting portions of paintings by old masters such as Rembrandt and da Vinci, and maintaining a beauty in their work reminiscent of romanticism is highlighted in this collection of 92 of their pieces, all reproduced in color. The wonderful prints of finished work and the black-and-white photographs of their Brooklyn studio kindle enthusiasm and admiration. New York Times photo critic Grundberg here interviews the brothers, analyzes the thematic content of their photographic collages and contrasts and compares their work with that of Robert Rauschenberg, Gilbert and George, Joel Peter Witkin and Cindy Sherman.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Their complex and arresting use of multi-media imagery has made the Starn twins the wunderkinds of the contemporary art world. They work as a unit, appropriating and recasting subject matter from a broad pool of art historical sources. Generally they begin with photographic images and add paper, plastic, chemicals, and other elements to treat their composition. Starn topics range from details of organic forms to double takes of persons or objects. They made a stir at the Whitney Biennial of 1987, and New York Times photography critic Grundberg's text continues this adulation on a grand scale: his monograph is a clearcut attempt to anchor their reputations as modern stars of the art scene; an introductory essay by eminent art historian Robert Rosenblum takes a similar approach. Fortunately, the Starn brothers' work is vivid and interesting enough to justify this attitude, and the plates in this book do justice to their collaboration. Recommended for art school libraries and contemporary art collections-- Paula A. Baxter, NYPL
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Citations
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4
books
cite this book:
- From Text to Hypertext: Decentering the Subject in Fiction, Film, the Visual Arts, and Electronic Media (Penn Studies in Contemporary American Fiction) by Silvio Gaggi in Back Matter
- Light Writing & Life Writing: Photography in Autobiography by Timothy D. Adams in Back Matter
- New Dimensions in Photo Processes: A Step by Step Manual, Third Edition by Laura Blacklow in Back Matter
- Yours in Food, John Baldessari: with meditations on eating by Paul Auster, David Byrne, Dave Eggers, David Gilbert, Tim Griffin, Andy Grundberg, John Haskell, ... O'Brien, Francine Prose, and Peter Schjeldah by John Baldessari in Back Matter
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