Art in A Hairshirt, Art Criticism 1964-1978
9 x 6", 220 pages, 15 color plates.
Essays by Amy Goldin, Robert Kushner and others. Published by Hard Press Editions in association with Hudson Hills Press.
ISBN 13: 978-1-55595-342-3
What Others Are Saying:
"For many art writers, she's an 'ace in the hole' - someone to read if you want an attitude adjustment... Goldin's writings snap ephemeral ideas into focus. The overall effect is to give the reader courage to exercise independent thinking."
MaLin Wilson-Powell, L.A. Times
"The publication of this anthology is a cause for celebration. Amy Goldin was and remains one of a very few critics and art historians whose writing illuminates the experience of looking... When eye meets object, the pressure of her words makes sparks fly."
Carolyn Lanchner, Curator, Museum of Modern Art, New York
"A persuasive maverick, Amy Goldin looked at and thought about art with few peers. Her taste and her intellect were wide-ranging, her insights original. Empathetic to artists, if bluntly so, she makes us re-consider our own reactions to them and their work."
Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum
"Amy Goldin was one of the most original and cogent critics of her time. For one thing, she completely changed the implications of the term "decorative" from pejorative to positive in her brilliant examination of Matisse's late cut-outs; for another, she realized the central importance of Dada in the creation of the art we now call post-modern; she also paid serious aesthetic attention to so-called outsider art, minor artists and the work of non-western cultures. She had no patience with phony theorists. She wrote with brio, incisiveness and not least - humor."
Linda Nochlin, Lila Acheson Wallace Professor of Modern Art at the NYU Institute of Fine Arts
"Amy Goldin is one of the better late-bloomers in art-criticism. She started writing about art in her 40s, after being an artist. That hath made all the difference. Goldin was early to see art going through its nervous-breakdown and rebirth in the 1960s and 1970s. She was right in her picks; understood underdogs as well as art-stars; was beautiful and strong of voice; prickly smart; funny; and easy to read. Who could ask for anything more?"
Jerry Saltz, Senior Art Critic, New York Magazine
Over thirty of Goldin's extensive list of writings have been selected by Robert Kushner and coupled with insightful accounts from these prominent art world writers:
Robert Kushner is an internationally acclaimed painter and sculptor. His work is held in many museum collections around the world, including the Whitney Museum of American Art and the Metropolitan Museum of Art, New York; the National Gallery of Art, Washington, DC; the Tate Collection, London; the Ufizzi Gallery, Florence; and the Kitakyushu Museum of Art, Japan. In 1997 Hudson Hills Press published the monograph, "Robert Kushner: Gardens of Earthly Delight" by Alexandra Anderson-Spivey. Kushner is represented by DC Moore Gallery in New York. He lives and works in New York.
Art in A Hairshirt, Art Criticism 1964-1978
"In many ways I am the first victim of my critical nature. I don't think that critical equals "hostile" but it does transform enthusiasm into something else, the intellectual complement of irony, saying yes and no simultaneously.... There are times when any criticism is useful and times when it isn't: One should know for oneself when the times are --- I count on that in others. But for myself, I feel helpless, being unable to turn it off."
-- Amy Goldin
This book represents the first-ever collection of essays by influential art critic, Amy Goldin, taken from the pages of Artnews, Artforum, Art Journal, New American Review, International Journal for Aesthetics and Art Criticism, Art in America and her personal journals during the 60s and 70s.
Robert Kushner, artist and a founder of the Pattern and Decoration Movement, has assembled this selection of essays written by Amy Goldin whose critical writing inspired many American artists. Her unconventional acceptance of "new" art forms paired with a close visual analysis of art from other cultures immediately challenged the traditional method of teaching art-history in the classroom and paved the way for broader parameters within the definition of art.
Goldin's most thought-provoking writings on Islamic Art, Conceptual Art, Folk Art, Decoration, Abstract Expressionism, Opticality and Black American Art are featured along with in-depth analysis of the work of such artists as Henri Matisse, George Sugarman, Manny Farber and Morris Louis.
As a New York painter in the early 60's, Goldin studied with Hans Hofmann and was painting as Amy Mendelson. Goldin, however, made a transition from Expressionism and exhibited her own hard edge abstractions. She began writing art criticism in 1965 and is now well known for her thought-provoking essays on art and artists, bringing together ideas that reflect her absorption in historical and contemporary art forms, her understanding of philosophy and sociology, her empathy with paint and painters and her argumentative nature. In the early 70's as the recipient of a National Endowment Critic's Grant she studied with noted Islamicist, Oleg Grabar at Harvard and was awarded the Frank Jewett Mather Award conferred by the College Art Association for "Distinction in Art and Architectural Criticism during the Year 1974-1975."