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Product details
File Size: 3143 KB
Print Length: 688 pages
Publisher: Vintage (November 17, 2015)
Publication Date: November 17, 2015
Sold by: Random House LLC
Language: English
ASIN: B00TWEME6I
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Describing Robert Hughes as merely an art critic (even if you think him a great one) seems a diminishment. Love or loath his opinions but give the man his due: his prose are beautiful and buoyed by wit and erudition. For that alone one should read (and reread) The Spectacle of Skill. It's a compilation of essays and excerpt chapters that are absolutely breathtaking in their content and style. History, travel, politics, culture (and the business of culture), ethics, fishing, High Trash as well as familial loss and failure are some of the topics Hughes turns his attention to. And oh, yes, artists and the art world.Two sentences in the spectacle of skill tell you all one need's to know about the man: "I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it's an expert gardener at work or a good carpenter chopping dovetails...I don't think stupid or ill-read people are as good to be with as wise and fully literate ones." I find I disagree as often as not with Hughes. I continually return to read his critical opinions because they are informed, knowledgeable and have a moral as well as an aesthetic or political slant. He can also be hilariously funny and scathingly dismissive--Julian Schnabel, collectibles, Interview magazine, and television are favorite targets.As a critic, Hughes is fiercely passionate and honest. Two virtues anyone can admire, but few acquire. His love of Miro and Picasso is steeped in their foundational skills: as modern artists they dismissed classic forms once they learned them. They actually took the trouble to unlearn them. His contempt for Schnabel and late-Warhol is based on the former's inability to even draw and the latter's apparent determination to elevate the banal to an aesthetic level. Happily for us, he despised cant (artists comparing their works to Kristallnacht beware). Reading the turgid excerpts from gallery shows he's visited is a highlight, as are his quotes from the culture rags of the 80s. Hughes was renowned for his campaigns against bombast and corruption: two afflictions that were and apparently still are epidemic in the art world. His campaign against the casual bribes of his profession was courageous and solitary.His homage to Barcelona and to Antoni Gaudi are a smorgasbord to be savored, gorging readers on courses of history, Spanish politics and chauvinism, urban blight, Catalan cuisine, Joan Miro, surrealism, modernism and the religiosity of Catalunya's premiere architect. It is a breathtaking whirlwind, all the more impressive because I never particularly cared for Gaudi's overwrought, lachrymose style. I don't like it much better now but do appreciate the effort and thinking that went into it. Particularly its artisanal, organic and oriental underpinnings. We are in full accord about the appalling continuum that has become the Sacre Familia and I will not try to top a master at his dismissive best:[it] is the most blatant mass of half-digested modernist cliches to be plunked on a notable building within living memory. It is sincere in the way that only the worst art can be...Art historians of the future will point to it, no doubt, as the precise moment when the public religious art of Catholic Europe died.In all collections, some works are less impressive. Personally, I never need to read another essay or article insisting upon the joys of fishing. Halfway through Hughes' paean to hooks, lines and sinkers I found my eyes glazing over, my mind wandering. His essay Long Island, would also, I thought, be less than riveting but it proved to be a delight. The writing is lyrical the observations fresh, proving again that the commonplace need not be banal. And of course, there are those artists! Wonderful appreciations of Rothko and Hopper, Pollock and Eakins and two particularly fine chapters on Goya that should be required reading for every lover of art and creativity. They are essays infused with wonder and passion for a true artistic genius.To his credit, Hughes was as fiercely critical of himself as others. His dissipated youth is reviewed in detail and his tragic failure as a parent is unflinchingly revealed. If there is tragedy and travesty in The Spectacle of Skill there is also a tremendous appreciation of greatness and accomplishment. These essays are never just about artists or paintings, cities visited or glitzy trends. Art and Art History are the springboards Hughes uses to dive deep into timeless cultural, social and political topics. It would be a shame if you didn't take the plunge with him.
I love Robert Hughes, but I was very disappointed to find out that this tome is largely composed of selections from his published books instead of being a new collection of uncollected essays. There were literally hundreds upon hundreds of essays from his many years of writing weekly reviews for Time Magazine to choose from, and instead we're given chunks of books that many of us have already read. Thankfully there's a little bit of previously unpublished material, but not enough to justify buying this.
Having read his "Nothing If not Critical' many years ago, I thought I should give this book a try, as it's a compilation of several of Hughes's books. He is definitely a great writer in my opinion and knows the art history well. For those who paid attention to the New York art scene in the 80s and 90s or a fan of Clement Greenberg, you may find this book interesting because Hughes does not regard Greenberg highly. There are also many other ideas, such as what the Eiffel Tower means or the origin of Cafés. Not a fast reading, as there are so many ideas, whether you agree or not.
Hughes is so astute and such a brilliant and educated observer. Anyone interested in the arts should have this in his library. These are enlightening essays that are written with whimsy and sagacity. Moreover, they provide the reader with bright, clever and smart insights into the art world. This book will forever be on my nightstand.
The selection of articles is not what I would have chosen, but I suppose it portrays the man pretty well.
Hughes is a fine writer, great raconteur and remarkably informative. His interests are wide ranging. A lot of these selections appeared in the '80s. Not many disappointments.
Don't appreciate critics but Hughes gives insight into our recent artistic past relevant today.
Not enough about art criticism
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