Synopses & Reviews
In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this happen? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, a writer with an exceptional ability to animate art's philosophical dimensions in a clear, persuasive manner. During this time when craft and the direct manipulation of materials by the artist appear to be in eclipse, Strauss comes to their defense in a spirited
cri de coeur.
Featuring over 35 illustrations, the book examines a wide variety of media and individual examples. It explores the works of sculptors Martin Puryear, Ursula von Rydingsvard, and Donald Lipski; painters Leon Golub and Ron Gorchov; and writers Robert Duncan, Robert Kelly, Guy Davenport, John Berger, and Leo Steinberg. In addition, there are essays on Joseph Beuys's 7000 Oaks in Ireland, contemporary Haida carvers Reg Davidson and Jim Hart, Cecilia Vicuña's "memory of the fingers," and the influence of curators Harald Szeemann and Walter Hopps on the staging of contemporary art exhibitions.
Known primarily for his writings on photography and politics, Strauss here focuses on the least mediated arts--painting, sculpture, and writing. His claims are supported by a series of close readings which succeed in recovering the immediacy of the hand and revitalizing contemporary art's connection to the past.
Review
"Strauss is an art critic of exceptional originality and depth. I can think of none in this field I would rank ahead of him in terms of his knowledge, his seriousness, his adventure, and the power of his writing."--Arthur Danto
"This is a good book. It is literate, thoughtful, kind, lucid, and meticulous, which is high praise in the Grub Street of contemporary art journalism. It embodies a chastening respect for the artist and the works that is not much in evidence these days. In a serious, somewhat smaller art world, Strauss's book would set the standard for criticism."--Dave Hickey, author of The Invisible Dragon
"David Levi Strauss brings an intellectual poise and gentle regard for fact to write of what is truly urgent in the art and literature he admires. Having found his bearings by attentive looking or reading, he retrieves for us that 'certain sensation' felt in the moment, found here in model instances of translucent prose."--Bill Berkson, Portrait and Dream: New and Selected Poems
"Inspired by Leo Steinberg and John Berger, and drawing on his intimate knowledge of a range of contemporary artists and writers, David Levi Strauss deftly combines inquiry, fact, illumination and response in this brilliant collection. Lucid, passionate and provocative, From Head to Hand reimagines for a new generation the necessity for an active engagement with the material processes and presence of art."--Ann Lauterbach, author of Or to Begin Again
"Strauss's writing is always smooth.... Strauss makes a good case for paying heed not only to the objects before us but also to how they came into being."--Bookforum
"Strauss' writing is as engaging as the intriguing range of practitioners and writing he brings into focus . . . This is a book of words in pursuit of the nature of visual articulation, as gracious as it is informative . . . Highly recommended."--R.W. Liscombe, CHOICE
Synopsis
In his third book, David Levi Strauss delves into the mysterious process whereby an image or idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this exchange take place? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, one of our best art critics, who has an exceptional ability to animate art's philosophical dimensions in clear, persuasive manner. Featuring over 25 illustrations, the book explores the works of sculptors including Martin Puryear, painters like Ron Gorchov, the work of contemporary Haida carvers, and many recent writers. He takes up Cecilia Vicuna's memory of the fingers; reframes the legacy of Leon Golub and Nancy Spero; and grapples with the handiwork of curators in staging exhibitions. Known primarily for his writings on photography and politics, Strauss focuses here on the least mediated arts--painting, sculpture, and writing--to recover art's most raw resource: the immediacy of the hand and the language it makes possible.
About the Author
David Levi Strauss writes frequently for
Aperture. His books include
Between the Eyes: Essays On Photography and Politics and
Between Dog and Wolf: Essays on Art and Politics. He is Chair of the graduate program in Art Criticism and Writing at the School of Visual Arts in New York City.
Table of Contents
IFrom Hand to Head and Back Again: Some Lines for Martin Puryear
Sculpture and Sanctuary: Ursula Von Rydingsvard
Laborare est Orare
Reanimating Matter: Raoul Hague and Robert Frank
II
Beuys in Ireland
Between Two Worlds: The Haida Project
Relational, in the Sense of Operative: Community in the Holy Forest
The Memory of the Fingers
III
In Praise of Darkness
Why Move on from Illuminations that Haven't Yet Been Understood?
Her Plumbing and Her Bridges, in Sweet Assemblage
The Dissemination of Painting
IV
The Fighting Is a Dance, Too
Fallen Figures and Heads
Remembering Golub
Spero's Heart
V
Hosephat and the Wooden Shoes: Duncan and Delire
Radial Asymmetries: On Guy Davenport
The Bias of the World: Curating After Szeemann and Hopps
It Has to Be Danced to Be Known: Leo Steinberg
I
From Hand to Head and Back Again: Some Lines for Martin Puryear
Sculpture and Sanctuary: Ursula Von Rydingsvard
Laborare est Orare
Reanimating Matter: Raoul Hague and Robert Frank
II
Beuys in Ireland
Between Two Worlds: The Haida Project
Relational, in the Sense of Operative: Community in the Holy Forest
The Memory of the Fingers
III
In Praise of Darkness
Why Move on from Illuminations that Haven't Yet Been Understood?
Her Plumbing and Her Bridges, in Sweet Assemblage
The Dissemination of Painting
IV
The Fighting Is a Dance, Too
Fallen Figures and Heads
Remembering Golub
Spero's Heart
V
Hosephat and the Wooden Shoes: Duncan and Delire
Radial Asymmetries: On Guy Davenport
The Bias of the World: Curating After Szeemann and Hopps
It Has to Be Danced to Be Known: Leo Steinberg