New Topographics

New Topographics by Britt Salvesen My rating: 5 of 5 stars This catalog from a reprise of a 1975 photography exhibit at Eastman House includes some of my long-standing favorite photographers, Stephen Shore and the Bechers, plus some others that are growing on me. The show was not well-received when first mounted but proved to be extremely influential in the rise of deadpan landscape photography. View all my reviews

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Preoccupied

From my fat and lazy perspective I don’t have much standing to grouse about the tactics of the Occupy movement. Whether they’ve clearly articulated their goals, or whether I would agree with them all if they did, or whether I find the drumming annoying, at least these people are trying to do something active about the state of the nation. All I do is get depressed. Still, even if I envy the movement’s pluck, I don’t love the creation of spectacles aimed at media consumption. For decades this has been the Left’s tactic of choice. The realists have believed it’s

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My Life With Apple

The first computer I ever seriously used was an Apple II plus. It was also the first computer (other than the typesetters) acquired by the little weekly newspaper where I worked in Santa Barbara, CA. We agonized a bit between the Apple and the first-generation IBM PC. But a comparably equipped Apple was a bit cheaper and, for an alternative newspaper, more culturally appropriate than an IBM device. Plus, we could get VisiCalc, the first spreadsheet program, which was available only on the Apple. I spent ungodly amounts of time with that computer, first setting up some basic financial reports

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Woody Allen’s Lifestyles of the Rich

Saw Midnight in Paris last night. (The next youngest person in the theater was probably three times my daughter’s age, at least.) It was a good one — Owen Wilson did a creditable job as Woody Allen’s mouthpiece, and the modernist name dropping worked well. But more than anything the movie, especially the present-day sequences, reminded me that Allen’s most enduring concern — more than his neuroses or intellectual/anti-intellectual pretensions, urbanophilia, May-September romanticism or even humor — is illustrating the lifestyles of the very rich. That first struck me with Hannah and Her Sisters, but with each movie, good, bad

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Fast Art: The Pointlessness of so Much

Art Chicago is an orgy of fast art. Scores of galleries haul out scads of work so visitors can plow up and down endless aisles burdened with art regressing toward the mean. The work, mostly by living artists, is mostly a blur. Occasionally something lends a booth enough gravity to slow you down, more often than not modernist paintings that you’ll never see in a museum since they’re privately owned (and not necessarily museum-quality pieces even if they’re museum-quality artists). This year the highlights for me were Chicago Imagist pieces of relatively recent vintage – works by Karl Wirsum, Gladys

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John Margolies, Roadside America book cover

Book Review: John Margolies, Roadside America

John Margolies, Roadside America, edited by Jim Heimann, with contributions by Phil Patton, C. Ford Peatross and photos by John Margolies. Taschen, 288 pages, about 400 color photos, 2010. ISBN: 978-3-8365-1173-5. Hard cover $39.99. The enthusiasm for vernacular expression that began flowering in the United States in the 1970s never quite gelled into a unified movement. Yet a new generation did learn to value the work of self-taught artists and a sizable coterie of writers, photographers, architects and others discovered an exterior landscape whose aesthetic dimension was almost entirely accidental, but all the more striking for it.

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