Scan barcode
heelturn2's review against another edition
started while on vacation & then lost the thread & it’s months later & it’s my roommate’s book anyways. art writing a little too technical for my brain but interesting where I could fully follow.
babywren's review against another edition
challenging
dark
informative
inspiring
reflective
slow-paced
4.0
Some of my favourite sections from the book:
- Art on my Mind
- In Our Glory: Photography and Black Life
- Talking Art with Carrie Mae Weems
- Aesthetic Interventions
- The Radiance of Red: Blood Works
This was a great read for anyone interested in the art world, and was both affirming and challenging in the ideas bell hooks presented.
I found the interviews really engaging, but I personally struggled with the very didactic language and sentence structure in some of the essays, and found myself going back over the same sentence two or three times to really grasp what it was saying. I kept getting so frustrated by this, and it certainly felt like it became a block for my desire to read further.
I also found the placement/selection of some of the artworks within the essays strange - some weren't cited at all, or were referenced pages later so I had to flip back to see the image being referenced.
- Art on my Mind
- In Our Glory: Photography and Black Life
- Talking Art with Carrie Mae Weems
- Aesthetic Interventions
- The Radiance of Red: Blood Works
This was a great read for anyone interested in the art world, and was both affirming and challenging in the ideas bell hooks presented.
I found the interviews really engaging, but I personally struggled with the very didactic language and sentence structure in some of the essays, and found myself going back over the same sentence two or three times to really grasp what it was saying. I kept getting so frustrated by this, and it certainly felt like it became a block for my desire to read further.
I also found the placement/selection of some of the artworks within the essays strange - some weren't cited at all, or were referenced pages later so I had to flip back to see the image being referenced.
toolaloorye's review against another edition
challenging
emotional
informative
reflective
slow-paced
3.75
brezaja's review against another edition
5.0
Wow. This work is ageless - something that can be referenced again, and again, and again. The subjects of race, spirituality, culture, geography, and human connection are just a few things that she reflects upon and contemplates eloquently in this work. She has so many references to previous works written and visual works by artists. Every artist needs this book. Every black artist needs this book.
rebcamuse's review against another edition
4.0
"To transgress, I must move past boundaries..." ('Being the Subject of Art, 133). This is what bell hooks does in this 1995 collection of essays that is part historical survey, part critique, part manifesto. Artists (and artworks by) Alison Saar, Carrie Mae Weems, Emma Amos, Jean-Michel Basquiat, Lorna Simpson, and others are interviewed and interrogated in the best sense of the word. hooks amplifies intersectionality and lays bare the importance of "constructive critical interrogation" and how essential it is to creating a more authentic understanding. One can, in hooks's mind, celebrate contributions without having to offer wholesale acceptance, especially if there is an absence of understanding of one own's hegemonic role (her basic criticism of Robert Farris Thompson, for example). In essays like 'In our Glory: Photography and Black Life' she digs past both aesthetic and political dichotomies of "good" and "bad". She acknowledges that cultural critique is connected to capitalism and other societal structures:
Roughly at the center of the collection is hooks's most personal (in some ways) essay, 'Women Artists: The Creative Process'. It is this short essay where we learn most about hooks as an artist and writer, and where some of her boldest statements appear:
It is a more than fair question. And when we consider that this collection is from a quarter of a century ago, it is telling that I find these questions still very relevant--at least in my field of music history/musicology. I can't speak to the situation in art history, but I'd venture that not much has changed.
The only drawback of the book is that the reproduction of the artwork is not very good, and in some cases, the lack of color undermines some of hooks's most biting and salient points. The book warrants a new edition with color plates, but in lieu of that, the Internet does come to the rescue in most cases. It is worthwhile to take the time to look up the works featured in the book--some of them can be found on Phillips contemporary art and auction site, others on the artists's personal website (such as Carrie Mae Weems's personal website). Others, like Emma Amos's The Overseer, seem inaccessible. But hooks's prose throws many of these works into high relief through description and critique. But look for them---seek them out. Do the work. The rewards will be there.
This was an important book for me to read, especially because so many of its lessons are directly applicable to music history. It asked me to look at my own "wokeness" and wonder if I have ever been, as Emma Amos put it, "the white critic [who] feels safe focusing on the blackness and otherness of the artist instead of learning to look at the art" ('Straighten up and fly right: Talking Art with Emma Amos,' 188). How much has identity politics shaped by own understanding of music? Am I working against silence and erasure? I'm not sure. But I do know that spending time with these essays has helped me consider the boundaries that I have yet to transgress.
Certainly a distinction must be made between having access to art and being willing to engage the visual on an experiential level--to be moved and touched be art. Many of us see art every day without allowing it to be anything more than decorative. The way art moves in the marketplace also changes our relationship to it. Often individuals who collect art spend more time engaged with issues of market value rather than experiencing the visual. ('Critical Genealogies: Writing Black Art', 108)
Roughly at the center of the collection is hooks's most personal (in some ways) essay, 'Women Artists: The Creative Process'. It is this short essay where we learn most about hooks as an artist and writer, and where some of her boldest statements appear:
Women have yet to create the context, both politically and socially, where our understanding of the politics of difference not only transforms our individual lives (and we have yet to really speak about those transformations) but also alters how we work with others in public, in institutions, in galleries, etc. For example: When will white female art historians and cultural critics who structure their careers focusing on work by women and men of color share how this cultural practice changes who they are in the world in a way that extends beyond the making of individual professional success? (131).
It is a more than fair question. And when we consider that this collection is from a quarter of a century ago, it is telling that I find these questions still very relevant--at least in my field of music history/musicology. I can't speak to the situation in art history, but I'd venture that not much has changed.
The only drawback of the book is that the reproduction of the artwork is not very good, and in some cases, the lack of color undermines some of hooks's most biting and salient points. The book warrants a new edition with color plates, but in lieu of that, the Internet does come to the rescue in most cases. It is worthwhile to take the time to look up the works featured in the book--some of them can be found on Phillips contemporary art and auction site, others on the artists's personal website (such as Carrie Mae Weems's personal website). Others, like Emma Amos's The Overseer, seem inaccessible. But hooks's prose throws many of these works into high relief through description and critique. But look for them---seek them out. Do the work. The rewards will be there.
This was an important book for me to read, especially because so many of its lessons are directly applicable to music history. It asked me to look at my own "wokeness" and wonder if I have ever been, as Emma Amos put it, "the white critic [who] feels safe focusing on the blackness and otherness of the artist instead of learning to look at the art" ('Straighten up and fly right: Talking Art with Emma Amos,' 188). How much has identity politics shaped by own understanding of music? Am I working against silence and erasure? I'm not sure. But I do know that spending time with these essays has helped me consider the boundaries that I have yet to transgress.
haydens's review against another edition
i didn't finish because it's very difficult for me to stay engaged with a PDF, but i'll return to it and hopefully in print