There’s a fascinating review of Richard Rhodes’ recent biography of Audubon in the Dec 6 issue of The Weekly Standard . The reviewer has this to say about the “pervasive strangeness ” of Audubon’s art: “Audubon’s most powerful compositions (with few . . . . Continue Reading »
Jed Perl, art critic for the New Republic , has a rant about John Currin and other contemporary painters in the Feb 16 issue of TNR . Scathing is too weak for this review. He says that Currin produces trash, and incompetent trash at that. Currin believes in nothing other than his own . . . . Continue Reading »
F. Gerald Downing of Manchester has an intriguing paper on “Aesthetic Behavior in the Jewish Scriptures” in the December 2003 issue of the JSOT . Among the points he makes are these: 1) There has been remarkably little attention to Hebrew conceptions of beauty. This is due in part to a . . . . Continue Reading »
Since I’ve said some favorable things about Virginia Postrel’s The Substance of Style , I should mention Anne Hollander’s very smart review in the December 22 TNR . Hollander is, after all, far better qualified than I to speak on matters of taste and fashion. One of . . . . Continue Reading »
And in case there is any doubt that Bloom’s aesthetics is tragic: He claims that a poet is always one who is “rebelling more strongly against the consciousness of death’s necessity than all other men and women do.” (Call this the “heroic poet,” operating by the . . . . Continue Reading »
In the introduction to Anxiety of Influence , Harold Bloom quotes Geoffrey Hartman to the effect that art seeks “to overcome priority,” specifically the priority of nature: “art fights nature on nature’s own ground, and is bound to lose.” Bloom, of course, links this . . . . Continue Reading »
I mentioned Virginia Postrel’s book “The Substance of Style” some time ago, having read a review in The Atlantic. I’ve now had a chance to look at the book, and it is a bracing, forcefully contrarian book in defense of the “aesthetic moment” that we are in in . . . . Continue Reading »
Early in his book, Sound and Symbol: Music and the External World , Victor Zuckerkandl is contrasting the phenomenology of sight and sound, and says this about the Greek emphasis on the visual: “It seems more than mere change that it was among a people so deeply anchored in the visible as a . . . . Continue Reading »
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