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Come on, you know you've thought it--while viewing a "masterpiece" of abstract art, you mutter, "A kid could do that." Here Susie Hodge, author of How to Survive Modern Art, explains why the best examples of modern art are actually the result of sophisticated thought and serious talent. From Marcel Duchamp's notorious Fountain and the scribbles of Cy Twombly to Mark Rothko's multiforms and Carl Andre's uncarved blocks, Hodge addresses critical outrage with a revealing insight into the technical skill, layering of ideas, and sheer inspiration behind each work. In cleverly organized chapters such as "Objects/ Toys," "Provocations/Tantrums," and "People/Monsters," Hodges thoughtfully and definitively lays bare the perception that modern art is mere child's play.
- Sales Rank: #353355 in Books
- Published on: 2012-09-25
- Released on: 2012-09-25
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x .80" w x 5.60" l, 1.10 pounds
- Binding: Paperback
- 224 pages
Review
"An indispensable, well-organized guide that employs impartial examination of modern works of art." --School Arts Magazine
From the Inside Flap
Come on, you know you've thought it--while viewing a "masterpiece" of abstract art, you mutter, "A kid could do that." Here Susie Hodge, author of How to Survive Modern Art, explains why the best examples of modern art are actually the result of sophisticated thought and serious talent
About the Author
Susie Hodge is an art historian, author and artist with over 80 books published, mainly on art and history. She also writes articles, web resources for museums and galleries, and gives workshops and lectures and schools, universities, museums, galleries, businesses and societies. She has taught in schools and colleges and contributes to radio and TV documentaries. She has an MA the History of Art and is a Fellow of the RSA.
Most helpful customer reviews
30 of 31 people found the following review helpful.
Mmm, I'll Still Not Sold
By Christopher Alexander
I had this book on the night stand while I was finishing up Gijs van Hensbergen's book, 'Guernica.' After Picasso's piece was first displayed, one regional leader looked at it and said, "It's awful. A four-year-old could have done that." I glanced over at Hodge's book, looking forward to reading what she has to say on the topic.
In this creative and easy-to-read book, Hodge's uses upwards of 200 pieces of modern art as a reference; from the obscure (at least to me) to more common names such as Dali, Matisse, Warhol, Munch, and even Picasso!
Basically, Hodges devotes two pages to each piece covered. She provides background as to what was happening in the artist's life at the time was piece was created. In some instances, she will expand on how the artist felt about the piece, where it eventually ended up, and what broader influences were in play. In essence, this helps the reader gain a more sophisticated understanding of the artist and the piece created.
In a separate section on the page, Hodge then offers her rationale for why, 'No, your five-year-old [or any other child] could not have done that.' While some of her arguments are playful, she essentially focuses less on what the artist did (smear painting, for example) and more on what message they were trying to communicate. Based on this, she is technically correct (given the cognitive limitations of young children), but it's also somewhat of a reach. Why? Because some of the art portrayed comes across as being a joke (a pile of red, white, and blue candy for example), regardless of what the artist felt or intended.
As an example, a common approach to Hodge's argument is how she discussed Hoch's 'Cut with the Kitchen Knife:'
"...Overcrowded and seemingly nonsensical, this montage looks as if a child has haphazardly stuck down fragments of photographs onto a sheet of paper. However, Hoch was consciously commenting on World War I, sexism, and social and political tensions with Germany..."
So, why didn't I give this book one star? Well, it's because I actually liked it. As my heading to this review suggests, Hodge is pushing it, trying to convince the reader that a child couldn't make some (much?) of the art in this book. Nonetheless, the brief descriptions of each piece are illuminating and the photos in the book are excellent. Hodge was probably being more tongue-in-cheek than she lets on, but she does make good arguments in some instances.
Anyhow, if you love art of any kind, I think you'll like this book. Especially if you run into contemporary art---by choice or because someone insisted you go with them to the gallery/museum---this book will open your eyes to what goes on behind the creation. That, in particular, was helpful for me, because (as you can tell), most contemporary art just doesn't do it for me.
18 of 19 people found the following review helpful.
Skeptics can be influenced
By Robert Shaver
I believe that most modern art is simply a clever exercise to extract money from those with too much money and no sense of what makes good art. Having confessed to my bias, I strongly recommend this book.
The author exposed me to new artists and shared her rich understanding of modern art in its historic and artistic context. She shares the often less than obvious message that the artist is attempting to communicate. For example, the author provides the following about Artist's S*** by Piero Manzoni: "The work parodies inflated values of art and also exploits consumerism, particularly the developing preoccupation with packaging and possessions. Meanwhile, the contents of the can represent the ultimate use of waste as an art material." (p. 116-7). I would not be willing to purchase the art priced at the equivalent of its weight in gold, but I can better appreciate the multi-layered message and the creative process that generated the idea for this piece of art.
The most valuable contribution for me was making explicit the implicit assumptions about art that some of the artists are challenging. For example, the author provides the following about the Fountain by Marcel Duchamp: "The most famous provocation of the art world began when the Frenchman Marcel Duchamp bought a standard urinal from a New York hardware store... (W)ith one simple but outrageous act, Duchamp proved that the modern artist is not sovereign, and that institutions such as museums also do much to determine what is art... Duchamp posed other questions about art, among them, what are the characteristics and conditions that define an object as a work of art? Should art appeal primarily to the eye (not primarily to the mind), and should it involve some transformation of materials or can a pre-made object be considered for its merits? (p.102-3)
With more books like this one, perhaps we will all be less judgmental and more appreciative of modern art and the artists who share their messages with us.
16 of 18 people found the following review helpful.
Attractive but repetitious!
By Cpkc
For each one of a hundred artworks, Deborah Hodge provides a little potted analysis, as well as six more kinds of information stuffed into two over-designed pages. Her point, made over and over again, is that while a child could simply put paint on canvas or arrange items on a gallery floor, the artist is exploring deeper aesthetic, historic, personal, or cultural questions.
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