Read Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin by Lawrence Weschler Free Online
Book Title: Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin|
Format files: PDF
The size of the: 2.45 MB
ISBN 13: 9780520045958
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Reader ratings: 4.4
The author of the book: Lawrence Weschler
Edition: University of California Press
Date of issue: March 10th 1982
Read full description of the books:
Completely fascinating. It's a biography of Robert Irwin, a contemporary artist, and one whose rather minimal works (a canvas with two lines! an apparently empty room!) I'd previously have been inclined to dismiss unthinkingly. Irwin is a thoroughly amazing character, and Weschler subtly but expertly brings him out, largely through Irwin's own words. What feels to me like the core of the book -- and, if the biography is as honest as it feels, the artist -- is the dynamic between certainty, dedication, and bullheaded effort on the one side, and, on the other, perception, full awareness, surrender. Weschler gets this beautifully in a couple of paragraphs where he describes two recurring gestures of Irwin's. In one, his bunched hands spread out, blossoming, as he speaks of wonder and observation. And then he's talking about nailing it, doing it right, getting it down, and he twists his arm, clenched and determined, turning an invisible screw. Opening up, forcing determinedly ahead. And the combination, as I read this book, felt a lot like grace.
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Read information about the authorLawrence Weschler, a graduate of Cowell College of the University of California at Santa Cruz (1974), was for over twenty years (1981-2002) a staff writer at The New Yorker, where his work shuttled between political tragedies and cultural comedies. He is a two-time winner of the George Polk Award (for Cultural Reporting in 1988 and Magazine Reporting in 1992) and was also a recipient of Lannan Literary Award (1998).
His books of political reportage include The Passion of Poland (1984); A Miracle, A Universe: Settling Accounts with Torturers (1990); and Calamities of Exile: Three Nonfiction Novellas (1998).
His “Passions and Wonders” series currently comprises Seeing is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin (1982); David Hockney’s Cameraworks (1984); Mr. Wilson’s Cabinet of Wonder (1995); A Wanderer in the Perfect City: Selected Passion Pieces (1998) Boggs: A Comedy of Values (1999); Robert Irwin: Getty Garden (2002); Vermeer in Bosnia (2004); and Everything that Rises: A Book of Convergences (February 2006). Mr. Wilson was shortlisted for both the Pulitzer Prize and the National Book Critics Circle Award; and Everything that Rises received the 2007 National Book Critics Circle Award for Criticism.
Recent books include a considerably expanded edition of Seeing is Forgetting the Name of the Thing One Sees, comprising thirty years of conversations with Robert Irwin; a companion volume, True to Life: Twenty Five Years of Conversation with David Hockney; Liza Lou (a monograph out of Rizzoli); Tara Donovan, the catalog for the artist’s recent exhibition at Boston’s Institute for Contemporary Art, and Deborah Butterfield, the catalog for a survey of the artist’s work at the LA Louver Gallery. His latest addition to “Passions and Wonders,” the collection Uncanny Valley: Adventures in the Narrative, came out from Counterpoint in October 2011.
Weschler has taught, variously, at Princeton, Columbia, UCSC, Bard, Vassar, Sarah Lawrence, and NYU, where he is now distinguished writer in residence at the Carter Journalism Institute.
He recently graduated to director emeritus of the New York Institute for the Humanities at NYU, where he has been a fellow since 1991 and was director from 2001-2013, and from which base he had tried to start his own semiannual journal of writing and visual culture, Omnivore. He is also the artistic director emeritus, still actively engaged, with the Chicago Humanities Festival, and curator for New York Live Ideas, an annual body-based humanities collaboration with Bill T. Jones and his NY Live Arts. He is a contributing editor to McSweeney’s, the Threepeeny Review, and The Virginia Quarterly Review; curator at large of the DVD quarterly Wholphin; (recently retired) chair of the Sundance (formerly Soros) Documentary Film Fund; and director of the Ernst Toch Society, dedicated to the promulgation of the music of his grandfather, the noted Weimar emigre composer. He recently launched “Pillow of Air,” a monthly “Amble through the worlds of the visual” column in The Believer.