In the Making (Paperback)

by Linda Weintraub (Author), China Adams (Contributor), Xu Bing (Contributor), Thomas Cooper (Contributor), Betsy Damon (Contributor), Gregory Green (Contributor), Scott Grieger (Contributor), Wenda Gu (Contributor), Jan Harrison (Contributor), Duprat Hubert (Contributor), Kim Jones (Contributor), Thomas Kinkaid (Contributor), Eve Andree Laramee (Contributor), Julian LaVerdiere (Contributor), Marcia Lyons (Contributor), Marco Maggi (Contributor) "Production and consumption comprise complementary aspects of art's cultural course..." (more)
Key Phrases: corporate hype, artistic attitude, installation view, New York, Los Angeles, Charles Ray (more...)

Editorial Reviews

Review
The book's strength is its insightful, accessible approach to each artist's work. -- Modern Painter

Product Description
From the first page to the last, from Thomas Kinkaid (really!) to Matthew Barney, this book serves as a launching pad. Conclusions are perpetually delayed. Resolutions are continually postponed. The text is written for takeoff, not arrival. It is a first step for readers' explorations of current modes of art making and for their own future artistic achievements.
The much-anticipated follow-up to Art on the Edge. . .and Over, Linda Weintraub's highly accessible introduction to contemporary art since the 1970s, In the Making: Creative Options for Contemporary Art explores essential but sometimes elusive facets of art making today. In her trademark writing style--straightforward and jargon-free--Weintraub sets out to itemize the conceptual and practical concerns that go into making contemporary art in all its endless permutations. In six clearly defined thematic sections--"Scoping an Audience," "Sourcing Inspiration," "Crafting an Artistic 'Self,'" "Expressing an Artistic Attitude," "Choosing a Mission," and "Measuring Success"--Weintraub moves artist by artist, in 40 individual chapters, using each to explain a different aspect of art making. Isaac Julien makes work for a highly specific audience; Michal Rovner communicates through metaphor and symbol; Charles Ray disrupts the viewer's assumptions; Pipilotti Rist is inspired by female emotions; William Kentridge is moved by apartheid and redemption; Vanessa Beecroft epitomizes the biography of a smart, attractive, Caucasian woman; and Matthew Barney achieves success through resistance. Through a compelling combination of renowned and up-and-coming artists, Weintraub creates a complex understanding of how to make and look at contemporary art--but in a simple, easily digestible format and language.
In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, In the Making is also an exceptional pedagogical tool, one that addresses what is fast becoming a huge gap in art education. Teaching artistic techniques no longer provides young artists with a sufficient education--a full range of conceptual issues needs to be considered in any well-rounded studio practice. Yet these very same conceptual issues are often those that are dealt with textually in art history and criticism classes. Weintraub persuasively offers a series of texts that fit squarely into this gap, addressing issues that concern anyone who is learning how to make art or how to understand it.
In addition, In the Making includes a series of interviews in which many of the artists discuss the practical issues of their life's work. Conducted by Weintraub's students at Oberlin College, the interviews pose questions about the artists' schooling, their studio space, and how they support themselves if their main income doesn't come from their art--the kind of questions every art student has always wanted to ask the artists whose work they see on gallery walls. Linda Weintraub sheds brilliant light on the intentions, motivations and strategies artists invent and employ in their work. I wish there had been a book like this 20 years ago when I was a young artist just out of school! The range of artistic practice she explores is far-reaching and refreshing. --Eve Andrée Laramée
Individual chapters on: Thomas Kinkaid, Isaac Julien, Skip Schuckmann, Michal Rovner, Matthew Ritchie, Eve Andrée Laramée, Will Schade, Arnaldo Morales, Gillian Wearing, Jan Harrison, Pipilotti Rist, Julian LaVerdiere, Scott Grieger, William Kentridge, Chris Ofili, Hubert Duprat, Thomas Joshua Cooper, Nan Goldin, Kim Jones, Charles Ray, Shirin Neshat, Vanessa Beecroft, Yukinori Yanagi, Reverend Ethan Acres, Marcia Lyons, Lorna Simpson, Marco Maggi, Victoria Vesna, Wenda Gu, Tony Oursler, Mariko Mori, Gregory Green, China Adams, Alix Lambert, Betsy Damon, Xu Bing, Daniel Joseph Martinez, Michelle Lopez, and Matthew Barney

By Linda Weintraub.

Paperbound, 8 x 10 in., 356 pages, 120 color illustrations

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Product Details

• Paperback: 415 pages
• Publisher: D.A.P./Distributed Art Publishers, Inc.; 1st edition (July 2, 2003)
• Language: English
• ISBN-10: 1891024590
• ISBN-13: 978-1891024597
• Product Dimensions: 9.9 x 8 x 1.2 inches
• Shipping Weight: 3.3 pounds (View shipping rates and policies)
• Average Customer Review: 4.2 out of 5 stars See all reviews (11 customer reviews)
• Amazon.com Sales Rank: #196,309 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

35 of 38 people found the following review helpful:

1.0 out of 5 stars An awful, frustrating read, December 17, 2006

By	Jonathan Schnapp - See all my reviews (REAL NAME)

Now, I've never written a review on Amazon before, but, then again, I've never felt so passionately about a book before.

I'm being forced to read this book for a class and I'm finding it incredibly torturous. Despite that, I'm going to struggle to keep my emotions out of this review.

The Preface of this book begins with questions:

"Why am I an artist? Who is my audience? How can I communicate with this audience? What is art's function in society?"

As a fledgling artist myself I have found myself asking these questions often. I know that there are no answers and I didn't expect this book to provide any. But I thought this book would at least probe and examine these questions. I had my hopes up that this thick text would provide some meaningful insights that would expand my knowledge, change my perspectives, and maybe even tell me how flat-out wrong some of my assumptions are.

Boy, was I disappointed.

Past the introduction, Weintraub, the author, ceases to ask anything. In fact, there is hardly any investigation into any of these questions period.

There is no critical thinking. There are no references to contemporary theorists or philosophers. Instead, the book is composed entirely of articles about contemporary artists who are meant to illustrate various strategies for tackling these problems. For example, to answer the question "who is my audience?" there is an article about Thomas Kinkade as an example of someone who makes "art-for-all."

But once you start reading the articles, the questions fly out the window. Instead, each article reads like an extended press release. The artists' works are written about in superlative, round-about ways. If one were to take away all the fluffy descriptions and half-baked interpretations there might be one or two paragraphs for each artist.

The articles are full of statements like "The artist does this, this, and this" and "The viewer experiences this, this, and this," but there is no critical examination of what the artist is actually doing or what the viewer is actually experiencing. These examinations wouldn't be too difficult to accomplish either. Why not talk with art critics or art historians about what they think about the artists' works or why not interview actual viewers seeing the works what they think about the works? We, the readers aren't provided these options. We are told what to think and experience. The artworks function exactly the way the artist and Weintraub tells us they do.

On top of this, any and all context is removed. Weintraub places each of these artists in their own separate bubbles. No one looks at other art. No one goes to museums. No one has done any reading regarding their chosen subject matter. Weintraub writes as if each artist has miraculously created their ideas out of nothing and are amazingly original even if their concepts are far from new.

For example, Weintraub has write-up on artist Scott Grieger. A major aspect of Grieger's work deals with consumer and advertising culture. Yet apparently neither Weintraub nor Grieger are familiar with Baudrillard's "System of Objects" or Jameson's "Cultural Logic of Late Capitalism" or Naomi Klein's "No Logo" which are all very relevant and very major writings on that very topic.

Additionally, Weintraub writes with a very awkward style that obscures what she is trying to say. This works to her advantage, however, because much of what she is trying to say makes little to no sense. For example, here is a quote from the Grieger article (where she is discussing a work about global warming that incorporates a time/temperature digital display):

"In his determination to make visitors realize that these digital measuring devices actually report instantaneous environmental change with absolute accuracy, and that these changes portend dire circumstances, Grieger used another propagandist tactic: surprise. Exploiting the power of letters and numbers to exceed their role as information-conveyers, he harnessed their ability to captivate attention, and thus to provoke thought. As visitors turn to exit the gallery they confront two painted replicas of LED displays. The stasis of these representations highlights the movement of the functioning devices. The text inscribed on one is 'hELLO.' The other reads '07734.' The perplexing appearance of the lower case 'h' is the clue that helps reveal that the two apparently unrelated signs are actually the same. By turning the sign with the numbers upside down, the viewers realizes that it too spells the word 'hELLO.' As they depart, visitors receive a greeting instead of a farewell."

This long paragraph is mostly nonsense. How does the propagandist tactic of surprise fit into any of these LED displays? How do the "hELLO" signs lead us to think that the other ones "report instantaneous environmental change with absolute accuracy"? Why does Weintraub place so much emphasis on the profundity of the "hELLO" signs when any 3rd grader in math class already knows how to make their own on their calculators?

This review has gotten way too long. And yet I've barely scratched the surface of this book. Each article makes me want to bang my head against the wall. Each paragraph make me want to gouge my eyes out with a spoon. Hopefully I can prevent some of you from experiencing this same torture.

Thank you for reading.

21 of 22 people found the following review helpful:

5.0 out of 5 stars perfect for emerging artists, April 14, 2004

By	L. Hanawalt (CA) - See all my reviews (REAL NAME)

I'm your typical college art student with dirt for self-esteem, and whenever I really begin to question my abilities or doubt if I want be doing art in the first place I haul out this book. I highly recommend it for anybody needing a breath of fresh air regarding the art world.

Cool thing: It has spaces for notes at the end of each section so I can jot down all the down-to-earth, pragmatic and yet encouraging pearls of wisdom that Weintraub has extracted from these artists in her interviews.

Also, all kinds of media are represented here... from traditional painting to digital film and performance art. There's even a section about Thomas Kinkade! This book also does away with typical artsy-snottisms and elitist attitudes...all of the artists are looked at from a neutral/inquisitive point of view, (including Kinkade), and written about in interesting, accesible, and ultimately inspiring essays.

10 of 10 people found the following review helpful:

5.0 out of 5 stars textbook material meets fun presentation, June 30, 2004

By	m jones (Canada) - See all my reviews

I think this would be an excellent resource for any artist, especially as a classroom tool (textbook?) TONS of color pictures!! While this book is basically an overview of contemporary artists it takes an interesting form in that it breaks the artists up into 5 'groups' (chapters.) Each artist is looked at in terms of their own oeuvre but also in relation to whatever category they have been placed in. Categories include: "Measuring Success" "Sourcing Inspiration" "Choosing a Mission" "Scoping an Audience" etc. Despite how 'buisness oriented' these topics sound, they are very poignant for contemporary artists, as Weintraub demonstrates. It has a great variety of artists, mediums and styles and a very good representation of women and minority artists. The writing is easy to understand and although there is a lack of heavy critique in this book, it still manages to present challenges: The artists themselves pose questions and challenges both through the interviews and through their work.