出版社: Farrar, Straus and Giroux; First Edition
出版年: 1975
页数: 128
定价: USD 5.95
装帧: 精装
ISBN: 9780374228781
内容简介 · · · · · ·
In 1975, after having put radical chic and '60s counterculture to the satirical torch, Tom Wolfe turned his attention to the contemporary art world. The patron saint (and resident imp) of New Journalism couldn't have asked for a better subject. Here was a hotbed of pretension, nitwit theorizing, social climbing, and money, money, money--all Wolfe had to do was sharpen his tools...
In 1975, after having put radical chic and '60s counterculture to the satirical torch, Tom Wolfe turned his attention to the contemporary art world. The patron saint (and resident imp) of New Journalism couldn't have asked for a better subject. Here was a hotbed of pretension, nitwit theorizing, social climbing, and money, money, money--all Wolfe had to do was sharpen his tools and get to work. He did! Much of The Painted Word is a superb burlesque on that modern mating ritual whereby artists get to despise their middle-class audience and accommodate it at the same time. The painter, Wolfe writes, "had to dedicate himself to the quirky god Avant-Garde. He had to keep one devout eye peeled for the new edge on the blade of the wedge of the head on the latest pick thrust of the newest exploratory probe of this fall's avant-garde Breakthrough of the Century.... At the same time he had to keep his other eye cocked to see if anyone in le monde was watching."
The other bone Wolfe has to pick is with the proliferation of art theory, particularly the sort purveyed by postwar colossi like Harold Rosenberg, Clement Greenberg, and Leo Steinberg. Decades after the heyday of abstract expressionism, these guys make pretty easy targets. What could be more absurd, after all, than endless Jesuitical disputes about the flatness of the picture plane? So most of them get a highly comical spanking from the author. It's worth pointing out, of course, that Wolfe paints with a broad (as it were) brush. If he's skewering the entire army of artistic pretenders in a single go, there's no room to admit that Jasper Johns or Willem DeKooning might actually have some talent. But as he would no doubt admit, The Painted Word isn't about the history of art. It's about the history of taste and middlebrow acquisition--and nobody has chronicled these two topics as hilariously or accurately as Tom Wolfe.
★★★★★
The Painted Word charts the erratic course of the social history of Modern Art from its beginnings in revolution-a revolution against literary content in art-to its present state, in which it has become, quite unconsciously, a parody of itself, obsessedly devoted to the pronouncements of certain guru-critics, to the point of reductio ad absurdum, to the point where-turnabout being fair play-it has become as literary, as academic, as mannered, as clubby, as the salon painting against which it first rebelled.
Soon after Modern Art developed, it became fashionable. Society (le beau monde, Cultureburg) and art critics attached themselves to it like pilot fish; but then they grew, and grew, and grew, until-as Abstract Expressionism gave way to Pop, as Pop spawned Op, as Op fell before Minimal opposition, as what was Minimal became no more than Conceptual-Art began to serve fashion and theory. The shark vanished and left the pond to le beau monde and to the critics, custodians of the painted Word. Clement Greenberg, Harold Rosenberg, Leo Steinberg-these are the big fish, Wolfe argues, not Jackson Pollock, Willem de Kooning, or Jasper Johns. The argument is utterly convincing . . .
. . . and wildly entertaining. Tom Wolfe is our premier social historian, and he is writing at the top of his form. Whether he is describing the Art Mating Ritual (in two parts, the Boho Dance and the Consummation) or taking the census of Cultureburg, he writes with an energy and irony all his own. His style has never been more dazzling, his wit has never been more keen. For everyone but his targets, the publication of The Painted Word is cause for celebration.
★★★★★
"He satirizes with such devastating accuracy the process by which the modern-art world affirmed its theoreticians." -Christopher Lehmann-Haupt, The New York Times
"If you have ever stared uncomprehendingly at an abstract painting that admired critics have said you ought to dig, take heart. Tom Wolfe . . . is on your side. The Painted Word may enrage you. It may confirm your darkest suspicions about Modern Art. In any case, it will amuse you."--New York Sunday News
"Tom Wolfe is a journalist who always manages to combine an encyclopedic store of inside knowledge with the obstinate detachment of a visitor from Mars, not to mention a brilliant style and incisive wit."--San Francsico Chronicle
"The Painted Word may well be Tom Wolfe's most successful piece of social criticism to date."--The New York Times
"The Painted Word is a masterpiece. No one in the art world . . . could fail to recognize its essential truth. I read it four times, each of them with mounting envy for Wolfe's eye, ear, and surgical skill."--The Washington Post
"His eye and ear for detailed observations are incomparable; and observation is to the satirist what bullets are to a gun."--The Boston Sunday Globe
The Painted Word的创作者
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汤姆·沃尔夫 作者
作者简介 · · · · · ·
Tom Wolfe is the author of more than a dozen books, among them such contemporary classics as The Electric Kool-Aid Acid Test, The Right Stuff, The Bonfire of the Vanities, and A Man in Full. A native of Richmond, Virginia, he earned his B.A. at Washington and Lee University and a Ph.D. in American studies at Yale. He lives in New York City.
★★★★★
Tom Wolfe was born and raised i...
Tom Wolfe is the author of more than a dozen books, among them such contemporary classics as The Electric Kool-Aid Acid Test, The Right Stuff, The Bonfire of the Vanities, and A Man in Full. A native of Richmond, Virginia, he earned his B.A. at Washington and Lee University and a Ph.D. in American studies at Yale. He lives in New York City.
★★★★★
Tom Wolfe was born and raised in Richmond, Virginia. He was educated at Washington and Lee (B.A., 1951) and Yale (Ph.D., American Studies, 1957) universities. In December 1956, he took a job as a reporter on the Springfield (Massachusetts) Union. This was the beginning of a ten-year newspaper career, most of it spent as a general assignment reporter. For six months in 1960 he served as The Washington Post's Latin American correspondent and won the Washington Newspaper Guild's foreign news prize for his coverage of Cuba.
In 1962 he became a reporter for the New York Herald-Tribune and, in addition, one of the two staff writers (Jimmy Breslin was the other) of New York magazine, which began as the Herald-Tribune's Sunday supplement. While still a daily reporter for the Herald-Tribune, he completed his first book, a collection of articles about the flamboyant Sixties written for New York and Esquire and published in 1965 by Farrar, Straus, and Giroux as The Kandy-Kolored Tangerine-Flake Streamline Baby. The book became a bestseller and established Wolfe as a leading figure in the literary experiments in nonfiction that became known as New Journalism.
In 1968 he published two bestsellers on the same day: The Pump House Gang, made up of more articles about life in the sixties, and The Electric Kool-Aid Acid Test, a nonfiction story of the hippie era. In 1970 he published Radical Chic & Mau-Mauing the Flak Catchers, a highly controversial book about racial friction in the United States. The first section was a detailed account of a party Leonard Bernstein gave for the Black Panthers in his Park Avenue duplex, and the second portrayed the inner workings of the government's poverty program.
Even more controversial was Wolfe's 1975 book on the American art world, The Painted Word. The art world reacted furiously, partly because Wolfe kept referring to it as the "art village," depicting it as a network of no more than three thousand people, of whom about three hundred lived outside the New York metropolitan area. In 1976 he published another collection, Mauve Gloves & Madmen, Clutter & Vine, which included his well-known essay "The Me Decade and the Third Great Awakening."
In 1979 Wolfe completed a book he had been at work on for more than six years, an account of the rocket airplane experiments of the post World War II era and the early space program focusing upon the psychology of the rocket pilots and the astronauts and the competition between them. The Right Stuff became a bestseller and won the American Book Award for nonfiction, the National Institute of Arts and Letters Harold Vursell Award for prose style, and the Columbia Journalism Award.
"The right stuff," "radical chic," and "the Me Decade" (sometimes altered to "the Me Generation") all became popular phrases, but Wolfe seems proudest of "good ol' boy," which he introduced to the written language in a 1964 article in Esquire about Junior Johnson, the North Carolina stock car racing driver, which was called "The Last American Hero."
Wolfe had been illustrating his own work in newspapers and magazines since the 1950s, and in 1977 he began doing a monthly illustrated feature for Harper's Magazine called "In Our Time." The book In Our Time , published in 1980, featured these drawings and many others. In 1981 he wrote a companion to The Painted Word entitled From Bauhaus to Our House, about the world of American architecture.
In 1984 and 1985 Wolfe wrote his first novel, The Bonfire of the Vanities, in serial form against a deadline of every two weeks for Rolling Stone magazine. It came out in book form in 1987. A story of the money-feverish 1980s in New York, The Bonfire of the Vanities was number one of the New York Times bestseller list for two months and remained on the list for more than a year, selling over 800,000 copies in hardcover. It also became the number-one bestselling paperback, with sales above two million.
In 1989 Wolfe outraged the literacy community with an essay in Harper's called "Stalking the Billion-footed Beast." In it he argued that the only hope for the future of the American novel was a Zolaesque naturalism in which the novelist becomes the reporter-as he had done in writing The Bonfire of the Vanities, which was recognized as the essential novel of America in the 1980s.
In 1996 Wolfe wrote the novella "Ambush at Fort Bragg" as a two-part series for Rolling Stone. In 1997 it was published as a book in France and Spain and as an audiotape in the United States. An account of a network television magazine show's attempt to trap three soldiers at Fort Bragg into confessing to the murder of one of their comrades, it grew out of what had been intended as one theme in a novel Wolfe was working on at that time. The novel, A Man in Full, was published in November 1998. The book's protagonists are a sixty-year-old Atlanta real estate developer whose empire has begun a grim slide toward bankruptcy and a twenty-three-year-old manual laborer who works in the freezer unit of a wholesale food warehouse in Alameda County, California, owned by the developer. Before the story ends, both have had to face the question of what is it that makes a man "a man in full" now, at the beginning of a new century and a new millennium.
A Man in Full headed the New York Times bestseller list for ten weeks and has sold nearly 1.4 million copies in hardcover. The book's tremendous commercial success, its enthusiastic welcome by reviewers, and Wolfe's appearance on the cover of Time magazine in his trademark white suit plus a white homburg and white kid gloves-along with his claim that his sort of detailed realism was the future of the American novel, if it was going to have one-provoked a furious reaction among other American novelists, notably John Updike, Norman Mailer, and John Irving.
In October 2000 Wolfe published Hooking Up, a collection of fiction and non fiction concerning the turn of the new century, entitled Hooking Up. It included Ambush at Fort Bragg and, for the first time since their original publication in the Herald-Tribune, his famous essays on William Shawn and The New Yorker, "Tiny Mummies!" and "Lost in the Whichy Thickets." His new novel I Am Charlotte Simmons, is now available in paperback from Picador.
Wolfe lives in New York City with his wife, Sheila; his daughter, Alexandra; and his son, Tommy.
目录 · · · · · ·
2. The public is not invited (and never has been)
3. Le Tout New York on a Cubist horse
4. Greenberg, Rosenberg & Flat
5. Hello, Steinberg
(Goodbye, Greenberg)
· · · · · · (更多)
2. The public is not invited (and never has been)
3. Le Tout New York on a Cubist horse
4. Greenberg, Rosenberg & Flat
5. Hello, Steinberg
(Goodbye, Greenberg)
(You, too, Rosenberg)
(Joy returns to Cultureburg)
6. Up the fundamental aperture
Epilogue
· · · · · · (收起)
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0 有用 十九。 2022-07-14 06:46:30
又酸又狠。 Clement Greenberg是怎么惹到他了。一开始不太听得下去,越后面听的越起劲。还是很有娱乐性。把美国五六七十年代的现代艺术批了个遍,at the end all modern art has become words, flat and flatter.
0 有用 十九。 2022-07-14 06:46:30
又酸又狠。 Clement Greenberg是怎么惹到他了。一开始不太听得下去,越后面听的越起劲。还是很有娱乐性。把美国五六七十年代的现代艺术批了个遍,at the end all modern art has become words, flat and flatter.