Drawn to New York : an illustrated chronicle of three by Peter Kuper

By Peter Kuper

A assertion of affection to Peter Kuper’s adoptive urban during which he has lived because 1977, this diary is a colourful survey of recent York City’s historical past. via Kuper’s illustrations, this ebook depicts a climb to the pinnacle of the Brooklyn Bridge, the homeless residing in instances sq., curler skaters in vital Park, the impression of September eleven, the posh of Wall road, highway musicians, and different scenes designated to town. With comics, illustrations, and sketches, this murals portrays every little thing from the low lifestyles to the excessive power that has lengthy made humans from all over the world flock to big apple

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The first, which you deem to be beneath your concern, gathers together the canonical masterpieces of the past and the art made for easy consumption. This consensus is indeed nothing but a habitus, or a habit. It is the one that the historian of art exaggeratedly respects because he or she understands it as tradi­ tion, that is, as continuity, and of which the historian of the avant-garde is systematically suspicious because he or she sees in it nothing but tradition, that is, nothing but established power.

Would you dare name the feeling that might reconcile John Heartfield and Leni Riefenstahl? How would you justify putting Manzoni's cans of Artist's Shit in the same museum as Bonnard's Nude in a Tub? The question of the unity, of the identity of art, that the logician raised in terms of the common properties of objects and the semiotician in terms of a common inherence in r ii L U N I V E R S A L AND THL S I N t; U I A R languages, is raised now not in terms of community or even of compatibility but in terms of the passage from one feeling to another.

But unlike him or her, you do not treat this noun as a concept. For the sentence "art is everything that is called art" is no longer a logical proposition the minute you add to it the mark of a "subject-of-utterance" that is presumed but neces­ sary: ". . " Since we are fighting over the meaning of art, the word "art" cannot avoid taking on plural and contradictory meanings. More­ over, since the very fight over the meaning of the word "art" is its most salient meaning when art is equated with the avant-garde, its features can no longer be reduced to logical predicates.

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