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From Library Journal
Surprisingly, this is the first subject dictionary that addresses avant-garde artists and styles among the visual and performing arts. Prolific artist and author Kostelanetz ( Conversing with Cage , LJ 10/1/93) first develops a working definition of avant-garde art: it expresses aesthetic innovation, gains initial acceptance from a limited audience, and serves as inspiration to future artists. From this he selects for inclusion such artists and movements as Beckett, Cage, Bunuel, Abstract Expressionism, free jazz, and video art. All 681 entries are well written, and most include brief bibliographies. The work's strengths lie in its interdisciplinary approach, coverage of art produced from about 1850 to the present, and discussion of many minor and contemporary artists. Also, Kostelanetz's critical approach allows for discussion of the truly innovative side of artists like Andy Warhol while ignoring those aspects that fall outside his definition of the avant-garde. Finally, his work is currently priced within the budget of even small institutions and individuals interested in the arts. A worthy addition to the art and culture collection of all libraries.
- Stephen L. Hupp, Capital Univ. Lib., Columbus, Ohio
Copyright 1994 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
- Stephen L. Hupp, Capital Univ. Lib., Columbus, Ohio
Copyright 1994 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Booklist
In the words of the author, a prolific writer and student of avant-garde topics, "this book was written not just to be consulted but to be read from beginning to end." It draws upon his knowledge of literature, art, architecture, performing arts, movements, and esthetics. He is admittedly opinionated in his judgment of artists and their works. The artists included are mainly twentieth century, with no birth date earlier than Edward Lear's (1812). They include such well-known subjects as Muybridge, Bierce, and Stravinsky and such contemporary figures as environmental-artist Christo and performance-artist Laurie Anderson. The entries for Kinetic Art, Serial Music, Mixed-Means Theater, Zaum (poetry), SoHo, and Something Else Press create a rich image of a period.
Entries are alphabetically arranged, with dates and alternative names. The work is highly readable. One entry leads to another quite seamlessly through the use of asterisks placed after the mention of related entries (e.g., Slonimsky, Nicholas leads to Var{Š}ese, Edgard; Ives, Charles; Dada; and Constructivism). There are cross-references to appropriate headings, "Kovacs, Ernie see Television." Most entries include one or more references at the end, and the "Postface" includes a bibliography of 19 works consulted. The initials of nine scholars, authors, and critics appear on the entries they have contributed. Small black-and-white photographs add interest.
This work is shaped by names so familiar that, in some cases, they no longer seem avant-garde: Eisenstein in film, James Joyce in literature, Merce Cunningham in dance, Buckminster Fuller in architecture, Mary Quant in fashion, Allen Ginsberg in poetry. Some entries, such as Futurism (Russian), lead to numerous related entries that may be less familiar.
This small volume, bringing together a wealth of information on esthetic innovation, will make avant-garde art more accessible to everyone and will be a welcome addition to art reference collections. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
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