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Uncontrollable Beauty: Toward a New Aesthetics, by Bill Beckley
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The notion of beauty and its relationship to contemporary art is once again arousing passionate discussion and wide-spread debate among artists, writers, critics, and curators. Uncontrollable Beauty is the first anthology to capture this new wave of critical discourse, examining the role of beauty in twentieth-century art and culture in order to redefine it for a new generation of artists and writers. Encompassing three central themes: Theory, Ownership, and Practice, the thirty essays, writings, and poems explore how we define beauty, where we locate it in art, and its complex links to issues of gender, morality, and universalism. Included are works by John Ashbery, Agnes Martin, and Carter Ratcliff, as well as a conversation with Julia Kristeva and an exclusive interview with Louise Bourgeois. Anyone wanting to stay current with contemporary art criticism will find this book a stimulating selection of dialogue, debate, and philosophical insight. Contributors: John Ashbery; Louise Bourgeois; Hubert Damisch; Arthur Danto; Max Fierst; David Freedberg; Jeremy Gilbert-Rolfe; John Hejduk; Dave Hickey; James Hillman; Ariane Lopez-Huici; Kenneth Koch; Julia Kristeva; Donald Kuspit; Jaqueline Lichtenstein; Agnes Martin; Thomas McEvilley; Robert Morgan; Frank O'Hara; Carter Ratcliff; William Rubin; Meyer Schapiro; Peter Schjeldahl; David Shapiro; Robert Farris Thompson; Kirk Varnedoe; Marjorie Welish; John Yau. Uncontrollable Beauty is co-published with the School of Visual Arts as part of the Aesthetics Today series.
Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
- Sales Rank: #1289700 in eBooks
- Published on: 2001-10-01
- Released on: 2001-10-01
- Format: Kindle eBook
Amazon.com Review
What ever happened to beauty? Since the late 1960s she seems to have been in exile. Postmodern artists traded her in for flirtations with truth, strength, and purity of form. It was then that women started stripping off their heavy makeup and Barbie doll clothing in an effort to gain equal footing with men. And men, anxious too to break some of society's molds, shed their business suits and leisurewear--then the paragons of male beauty. But as art critic Dave Hickey unwittingly predicted during the '80s, that quality--which Plato believed to be eternal and absolute--is the "issue of the '90s."
After three decades of playing wallflower because she was thought by many artists to be frivolous, easy, tired, and even shallow, beauty is dancing again. Uncontrollable Beauty is filled with exciting essays by artists, critics, curators, and philosophers whose definitions of this elusive quality are often at odds with the Platonic ideal. When beauty besets critic Peter Schjeldahl, his mind is "hyperalert," his body eases, and he is often aware of his "shoulders coming down as unconscious muscular tension lets go." Renowned sculptor Louise Bourgeois also experiences beauty as opposed to encountering it: "Beauty is a series of experiences. It is not a noun ... beauty in and of itself does not exist." Artist and coeditor Bill Beckley blames beauty's banishment on Wittgenstein--who, in a 1938 lecture at Cambridge, said that beauty is most often meant as an interjection "similar to Wow! or rubbing one's stomach"--and his undue influence on conceptual artists of the '60s and '70s. Each essay collected here is rigorous in its definition of this elusive yet powerful force in art and aesthetics. Taken together, the writings are an invigorating read for artists and viewers alike.
Review
"An absorbing and provocative farrago of commentary devoted essentially to the complex art of our time, ranging widely in tone and stylistics from the stolidly doctrinaire to the heedlessly irreverent, and generously embracing topics of aesthetics, morality, and contemporary art theory. This remarkable collection of opinion reconfigures the hoary and devalued Victorian concept of beauty, moving us closer to the ever mercurial art object as well as our own personal sensations as we encounter its many guises. From Meyer Schapiro's lucid criteria of value to Louise Bourgeois's tactic of mystification and defiance the book is full of singular revelations and contrasts in ideology and discourse on the part of an admirable group of artists, poets, theorists, and dedicated observers and creators of art today." -- Sam Hunter, Emeritus Professor, Princeton University
"An extraordinary volume." -- Art in America, 1998 Spring Book Selection
"Bill Beckley's recent interview with [Louise] Bourgeois is one of the many highlights of the anthology . . . . Including a wide variety of texts never before published in book form by people such as Julia Kristeva and Ariane Lopez-Huici . . . and major statements on the topic by critics, poets, and artists, as well as the first complete presentation of the famous pitched battle which unfolded in the pages of Artforum between Thomas McEvilley and William Rubin and Kirk Varnedoe . . . , this anthology offers an unsurpassed collection of contemporary approaches to the very loaded notion of beauty, and its contested place in the appreciation and practice of art." -- Off-the-Wall, Spring 1998
"The concept of 'beauty' becomes revitalized and more interesting. What is more important is the book's effectiveness at defining a space for the discussion of beauty's relevance to contemporary art. Uncontrollable Beauty makes clear that a larger reconsideration of beauty is not only needed, but has already begun." -- Rain Taxi, Summer 1998
"To many, the very word beauty seems to have become a muddled cliche. Time for a new definition, or at least a refinement of old ones, the critics included in this volume say. Thus many of the writings offer beauty a fresh face, casting it as a healing, personal, unpredictable, ungovernable experience." -- New York Times, April 11, 1998
"[Bill Beckley has] gathered nineteen existing essays on beauty by critics and artists whose writing he admires . . . commissioned new pieces . . . and tracked down the entire heated public debate that took place between critic Thomas McEvilley and MOMA's Kirk Varnedoe and William Rubin." -- New York Magazine, March 23, 1998
Bill Beckley and David Shapiro have compiled a massive tome of essays, arguments, conversations, letters, and poetry to attempt to define aesthetics in all its varieties: painting, sculpture, concept of art, literature, philosophy, psychology, sociology, and poetry, among other disciplines. Among the tacticians of beauty called upon are Louise Bourgeois, Jeremy Gilbert-Rolfe, Peter Schjeldahl, Agnes Martin, William Rubin, Thomas McEwilley, and Robert C. Morgan.Jeremy Gilbert-Rolfe notes that in the art world, "the idea of the beautiful is always threatening to make an appearance or comeback but it tends always to be deferred."Peter Schjeldahl weighs in: ""Beauty is Truth. Truth Beauty?" That's easy. Truth is a dead stop in thought before a proposition that seems to obviate further questioning, and the satisfaction it brings is beautiful."Santayana is quoted: "To feel beauty is a better thing than to understand how we come to feel it."Agnes Martin: "When I think of Art, I think of Beauty, Beauty is the mystery of Life. It is not in the eye, it is in the mind. In our minds there is awareness of perfection."(Yet others have argued "beauty is in the eye of the beholder.").Louise Bourgeois: "Beauty? It seems to me that beauty is an example of what the philosophers call reification, to regard an abstraction as a thing. Beauty is a series of experiences. It is not a noun. People have experiences. If they feel an intense aesthetic pleasure, they take that experience and project it into the object. They experience the idea of beauty, but beauty in and of itself does not exist. Experiences are sorts of pleasure, that invoke verbs. In fact, beauty is only a mystified expression of our own emotion." These are just a few of the many conceptions that permeate this volume, which taken in its totality represents the wellspring of art itself, in its many forms and dichotomies. Jacqueline Lichtenstein talks of "Platonic cosmetics." Hubert Damisch ruminates on Freud and his rare and singular interpretation of Kant. Even the evidence and myth of Pygmalion, and, some feel, his modern antithesis, Robert Mapplethorpe, are observed.What is essential is the understanding of the nature of truth and beauty, from Aeschylus to Shakespeare to Francis Bacon's interpretations of the playwright. One volume can only penetrate the midst of internal and external debate that we see all around us. But its importance in the technological age is to remember that despite its necessity, the computer as a form can never replace the dynamics and feeling of professional artists, sculptors, painters, playwrights, poets, and novelists with an aesthetic form and grace. -- From Independent Publisher
From the Back Cover
Uncontrollable Beauty: Toward a New Aesthetics presents a selection of the most significant essays of our time on the still contested territory of aesthetics. The range of these works is enormous, encompassing Meyer Schapiro's skeptical argument on perfection, contributions from artists as profound as Louise Bourgeois and Agnes Martin, and reflections of critics, curators, and philosophers on the problems of beauty and relativism.
This volume contains the insights of some of today's most innovative art theorists, such as Dave Hickey, Jeremy Gilbert-Rolfe, Peter Schjeldahl, and Julia Kristeva, as well as the writings of such renowned critics as Arthur Danto, Donald Kuspit, and Carter Ratcliff. Essentially pluralists, but not permissive in a trivial way, these esteemed writers and thinkers underline how the sense of beauty today is an inescapable territory of multiple perspectives.
Duplicated by no other anthology in print, this collection is essential reading for all students of art today and anyone trying to comprehend contemporary debates on the role of beauty in twentieth- century art and culture. Opposed to Puritanism and dogma, Uncontrollable Beauty is the opening for debate as well as the passionate reception of an inexhaustible aesthetic.
Most helpful customer reviews
25 of 28 people found the following review helpful.
A refreshing antidote to the dilemna of today
By Grady Harp
UNCONTROLLABLE BEAUTY: Toward a New Aesthetic is easily some of the most beautiful writing I've ever encountered. Editor Beckley ( who also writes well) has selected poets, critics, painters, sculptors, philosophers to write about where we place Beauty on the scale of art importance in the past thirty years. The very fact that this issue is being addressed bodes well for those of us who have been concerned about recent past trends in art of all forms. Being ugly, controversial, in your face, violent, frivolous, mocking, sadistic has been the criteria for what gets press and thus what the public is spoon-fed as what is "in". So many of us tire of these stale and selfish agendas which don't seem to have a life much past the opening of the show that features them. But why did we get that way? Is there a possibility that we have become so overinformed as to how to see that that most sacred aspect of creativity - beauty - has become a dinosaur? Accordingly to lyrically beautiful essays the answer is a decided "No!". Almost every way of describing beauty, feeling beauty, thinking beauty, seeking beauty is given in this eloquent book. This is not always easy reading.....but there is beauty in making the effort, too. Bravo and welcome back to the age of hope!
0 of 1 people found the following review helpful.
The majority of this book is written on a level ...
By Floating Signifier
The majority of this book is written on a level for weak grad students and inappropriate for undergrads. The material is presented in first person and delivered with the intent of making aesthetic theory personable and readable; instead, it comes across as one man's opinion.... until the interviews. Sheesh and yikes. The interviews are dated, lacking in dignity, and, at times, sexist. Despite facing the wrath of the campus bookstore I am sending these back.
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