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1 Perl, Jed Eyewitness: Essays on Contemporary Artists and Their Audiences
Basic Books 2000 0465055206 / 9780465055203 Hardcover Near fine Near fine Hardcover 
New. Near fine in publisher's quarter-bound boards in like dust jacket. Available in our UK premises for prompt dispatch worldwide.Art critic Jed Perl has a theory about the state of the contemporary art scene. He believes that the art world--which he defines as an ideal community of dealers, collectors, curators, and viewers who support artists over the long term, regardless of market or other forces--is on the verge of extinction. Primarily he blames the art-market publicity machine and the complicity of major magazine editors and crowd-hungry museum directors. Together, they overhype already-successful artists like Cindy Sherman and Julian Schnabel to the detriment of the "different, unglamorous, half-buried scene" composed of emerging artists and denizens whose work has consistently evolved over the course of long, quiet careers. Eyewitness is a collection of Perl's essays, written over the last decade or so, in which he single-mindedly pursues his definition of a healthy art world and the perils that threaten its existence. His writing on wide-ranging subjects such as the 1995 Whitney Biennial, the audio component of Bruce Nauman's sculpture, the building of L.A.'s Getty Center, and a 1997 exhibition of Braque's mid-century masterpieces is filled with predictions about the trajectory of the art world, many of them dire, some of them worthy of serious consideration. Readers will likely react strongly to Perl's occasional rants, but what cannot be refuted is that, as art critic for the New Republic, he is extremely knowledgeable about his topic. He writes simply and accessibly and suggests interesting ideas for consideration. Eyewitness is a relevant read for anyone connected to the art world, including even the occasional museum visitor or gallerygoer. --Jordana Moskowitz ... For the six years veteran journalist Perl (Paris Without End; Gallery Going) has been the art critic for the New Republic, he has consistently argued for struggling artists in their studios and against some of the best-known art stars of the last 20 years, from Chuck Close to Cindy Sherman. On a month-to-month basis, this underdog, work ethic-centered approach to art reviewing can be refreshingly contrarian, championing the slow, thoughtful creation of art, and deriding what Perl sees as contemporary art's fundamentally misguided assumption: that context and not content is what makes or breaks a work, or at least governs its immediate impact. Collected in a book, though, these we-they essays embody not so much a Robin Hood spirit as an extended appeal to the taste-based art criticism of poet John Ashbery (referenced by Perl repeatedly), though without Ashbery's genial stance. Perl writes most often about paintings; those he likes best, reproduced in 32 b&w illustrations, are complex compositions by artists who make conspicuous use of perspective, either narrow or foreshortened (R.B. Kitaj, Jean H?lion). He especially likes the studio as a subject (Stanley Lewis, Trevor Winkfield), and has a weakness for allegorical group studies (Gabriel Laderman). Perl's prose is elegant and readable despite his disdain for segues and his often blunt remarks. Of the 26 essays here, several deal with established figures like Balthus, Jasper Johns and Bruce Nauman. While one would think that having contemporary art's number would make Perl a little less critically cranky, his readings of the works that touch him remain illuminating. (Mar.) Copyright 2000 Reed Business Information, Inc. 
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