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02/26/2007: "My Favorite Art Books"

I'm sitting here next to a stack of art books that I'm calling, "My Favorite
Art Books." Because art book publishing is in a reported state of crises, I
thought that I would do my little part to help out. When I visit national
bookstore chains, it's quite unsettling to discover that the art and
architecture book sections are pushed WAY to the back of the building. Of
course, that has its advantages if you seek solitude as I do.

While I believe most art books suffer from "stuffy academia," they're the
closest things that many people will ever come to seeing true art. They
deserve our support. Anyway, here's a quick list of my favorites ... in no
particular order. I'm sure you have your own choices.



"ARTODAY," by Edward Lucie-Smith (Phaidon). Who dares question the
knowledge of this great art writer? Formidable book and illustrations. His
"American Realism" tome is good too.

"Semina Culture: Wallace Berman & His Circle," by Michael Duncan and
Kristine McKenna (DAP, Santa Monica Museum of Art). I highly recommend this
book to the free-spirited among us. It covers the Beat-Generation cultural
movement in such a warm, human way. A very hip and engaging survey. It's
not just about the art, but the people behind it. Where are the artists
today like these people? We're so uptight these days.

"Artists at Work," by David Seidner (Rizzoli). Just an elegant look inside
the studios of famous artists.
Love it.

"The Hudson River School," by Bert D. Yaeger (Smithmark). If you've ever
visited the Hudson River Valley north of New York City, you won't have to
ask why I chose this book.

"Paul McCartney: Paintings" (Bulfinch). He's artistic in more ways than
one.

"Julian Schnabel" (Harry N. Abrams). I got this massive book which retails
for $75.00 for only $28.00 including shipping, online. That's reason enough
to love it, however, I also love it because it lets the artist's work speak
for itself. Being a writer, I can't believe I just said that, but it's
true.

"Basquiat" (Brooklyn Museum, Merrell). I saw the exhibition upon which this
book is based at L.A. MOCA. It was a drop-dead, bad-ass show. I had to
have this book.

"Photorealism at the Millennium," by Louis K. Meisel with Linda Chase (Harry
N. Abrams). I'll never be able to afford photorealist works, which I LOVE,
but at least I have this book.

"The Art of Richard Diebenkorn," by Jane Livingston (University of
California Press). A lovely tribute to this versatile artist.

"Painter In Paris 1895-1950," by William S. Lieberman (Metropolitan Museum
of Art, Yale University Press). Artists and Paris ... who can resist
either?

"Art at Work: Forty Years of The J.P. Morgan Chase Collection." Chase has a
kick-ass, progressive collection. Money in the bank.

I could go on forever. Basically every art book is my favorite art book. I
chose not to be pretentious in my reasons for selecting these. I just love
them and I think that's good enough reason. My home is full of art books
and these are just a few worthy of mention. Support art books!

MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF "ART IN KING SIZE
BEDS: A COLLECTOR'S JOURNAL," NOW AVAILABLE ON AUTHORHOUSE.COM.

Replies: 8 Comments

on Thursday, March 1st, Ellen Fisch said

Walt- I find the same problem exists in northern New Hampshire where I have a small place & do a lot of landscape painting and photography. There are some wonderful artists there who will never be known because there is so little in the way of resources (galleries, universities,museums)to showcase them. I belong to the White Mountain Arts Association which does its best to create events for artists, but so many of these truly gifted artists lack recognition. Although WMAA works hard for artists, one organization can only do so much. There are several other groups of artists in the White Mountains, but it's hard going. I think that Absolute Arts does a great job of providing exposure for artists. The eletronic age has given artists wonderful opportunities for exposure.
Michael- I added Art in King Sized Beds to my personal list of favorite art books! I love art books that tell stories! I have hundreds of art books that I've been collecting since I was a child. They are treasured friends and teachers. I also collect postcards, slides and clippings of paintings that I admire. My house runneth over!!

on Wednesday, February 28th, walt said

When we let our art and our careers become the domain of the art world elites only a few will ever be noticed. There is a problem that a lot of medium level cities like Columbus seems to struggle with. Especially if there is a University and or Art College involved. Local artists tend to get usurped by faculty (yes, I'm one of them) who are recruited from major cities, often with longer resumes and status filled careers who are always on the hunt for the next job up so they leave a footprint or two on their way to another, more status filled position. The local artists tend to get a kind of 'Townies' reputation as opposed to the better known imports. They are treated like local yokels rather than the gifted artists they really are.

The recent Wexner Center effort to do a show of Ohio artists is a great example. They did a call for entries for a show called 'State Fare' looking for Ohio artists. They intended to highlight three Ohio artists. It sounded very hopefull in that they might actually begin to highlight contemporary artists from this region. But the reality is they chose three artists only one of whom is really an Ohio artist. The other two are recent transplants with long rap sheets from away. One is, I think, from London and the other from Philly who has been making art for a while and who decided to do her MFA here at Ohio State University. I don't know here but looking at her track record I doubt she'll find Columbus the art market of her dreams. So my sudpicion is that she'll cut and run as soon as she has her degree. And I wouldn't blame her if she did. Now I don't want to dys these artists. They are good. But what we local artists, artists who have been committed to living and working in the area for the better part of our lives, what we really have to offer has once again been sidelined. What Wexner has done is what it usually does. They seem to have a mission to bring the larger artworld to us. This of course begs an attitude that we are provincials without sophistication or subtlety.

Meanwhile we are the ones who have helped to establish organizations like the Ohio Art League, various alternative galleries and organizations that often give some of the transplants a leg up. In Columbus it was local the artists who helped establish the Short North gallery district along with some of the older galleries. And while you want to bring the larger art world to your home town you do it because you want to compare and contrast your local talent which is often every bit as good and sometimes even better than what is out there in the larger world.

I would really like to see something that finds and showcases the real Ohio. Those artists whose works actually represent something that you will only find in Ohio. And I don't mean just looking for artists who make Ohio landscapes or city scenes. But artists whose work somehow epitomizes the mindset, the zeitgeist, wisdom and attitudes one aquires by living here. Its a fairly rich history. And while there are, as there are anywhere, those artists who are simply doing whatever is hip in New York, there are others whose work is very original, unique, contemporary and of the moment in which they lived or in which they are living.

Markus has had a hand in doing some things over the years. When he was teaching and running the gallery for OSU/Newark he did a show of Lichtensteins early work done while teaching at OSU long before he became the Roy Lichtenstien we are familiar with. That's the right idea. But I'd like to see something even more focused on local talent. I don't think I can do it myself. But maybe there should be a group effort, some sort of commission or society that focuses on the history of the art of the locale. I know they often get caught up in local politics, get taken over by a few mediocre minds and end up showing mediocre artists rather than the really gifted ones, or as has happened here more often than not, they get coopted by what I might call itinerant artists who are on the move to the next position. But it seems to me that it could be done properly with the right minds at the helm.

You know, Florentines were loyal to Florentine artists. That's how the Renaissance began.

on Wednesday, February 28th, jose said

Markus, Walt, some very interesting developments going on here. Please keep me up to date on your talks. I recently bought an art book of a portuguese contemporary - my generation - written by the artist himself at the publisher's request. I know this is rare, but I admired his courage. Even though I wasn't a great fan of his work this was a different kind of art book with very insightful information about what makes him tick and it made me start to look at Pedro Proença's art in a different way.

on Tuesday, February 27th, walt said

Markus, I've been talking about this idea for years. When Lesley Constable lived here I had high hopes that something could happen. She had the best archive of info on contemporary central Ohio artists since she wrote about them for the Dispatch. Since she left town (and I don't know where she is at the moment) I don't think there is anyone alive who has such an archive. That would leave a major gap in the history. But sure, it could be done online. But it would take someone a lot of time and energy to organize the research and form the information into a readable body. Yes, we'll have to discuss this.

on Tuesday, February 27th, Markus Kruse said

walter, that would be a great idea. publishing art on the central ohio level... if there is no support for a book version, why not virtual publication? maybe we should create a section here at absolutearts. let's talk!

on Tuesday, February 27th, Mark said

Art books, got to luv 'em. I have had no formal art training so I tend to fall into the self-taught catagory, but the truth is I have had hundreds of teachers, all from books, museums and galleries. I learned to paint from books and I am NOT talking about "how to books", they don't work for me. My favorite book is the "Art Spirit" by Robert Henri, it is a bible of sorts for me. Yet there are far more then just that one to many to list here. Even books on artists who's work I don't care for can be instructive. I strongley urge my students to look at art books.

My concern about art books though are that there are so many on just a few artists really. I admire Van Gogh's paintings, but enough is enough on the books. How many can be written and not just repeat? Like all things "those that be" take hold of what has sold and make more and more and more. Museums do the same thing, in fact many books are based on museum shows, so there you go. I like Walt's idea, as I too think there are many artists who's work deserves publication and in the right venue would sell. Best sellers? Maybe not, but money could still be made.

on Monday, February 26th, olivier said

As Voltaire said they are "bibliomanes" and "bibliophiles". One who collect books to look at them, other who read them. I have several hundreeds art books myself plus many on antiques civilisations, art history,ref, collectibles ect.. Did I read all these books I bought? No. Am I a bibliomane? As an antique delear my favorite book on art was complete catalogue by a painter as a good reference but I have few of them they were very expensive. Back to our subject, many of these popular books from the eighties were print pretty fast, appart from the nice quality of the reproduction they have no interest as I always feel asleep trying to read them, with always the same paintings reproduce. I agree with you Mark I do like group, novement art book as they offer a different vision. I have many book made by famous painters these are great and easy to find. Now some editions came really out of the surface like Flammarion in French. Not only the quality is great but they are a pleasure to read and read again. Somebidy want to buy books? I have just too many.

on Monday, February 26th, walt said

Michael, The only reason I think art books are in trouble is because there are not enough of them dedicated to new artists.

I have a rather large collection of books myself, from small books on obscure subjects to the large popular full color coffee table books. However I am quite tired of finding the same artists covered by every possible publisher. Another book on Monet is not needed unless there is something very new to say about his work. The same goes for Picasso, Matisse, Renoir etc. Instead of waiting for the rest of the world to catch up before printing a new book publishers should take the lead in putting new work out there. Small editions would be enough in the beginning.

I love books that cover groups of artists dealing with similar themes or within a given school of thought. These are often put out in conjunction with exhibitions of that group of artists. I'd love to see books about contemporary regional art. I have a nice one on Texas Art published in conjunction with a show at the Kimball Museum in Fort Worth. I'd like to see one published on the art of Columbus and Central Ohio. There have been so many really creative and original artists from this area that no one knows about. Same with Tulsa Oklahoma. But almost any relatively large city has an art history all its own. If the local chambers of commerce would get involved to help fund such books I'm sure there are historians, artists, collectors and arts writers galore who could help put them together.

I noticed when I was in Germany that more artists have had books published about their works than here in the states. That's because there is government monies to help them do so. And because of that the local artists are much more popular in their locales. City History books were popular for a while in the 80's. I worked on a few for Continental Heritage press in Tulsa in between school years during the summer. With the help of the CC's, local newspapers, the Mayors offices and local businesses such books could be very viable commercially and even help attract new business and young professionals to these communities.

But most importantly it would help encourage local arts to flurish and engender pride in and loyalty to local artists.