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    How to See: Looking, Talking, and Thinking About Art
    How to See: Looking, Talking, and Thinking About Art
    How to See: Looking, Talking, and Thinking About Art
    Audiobook7 hours

    How to See: Looking, Talking, and Thinking About Art

    Written by David Salle

    Narrated by Eric Michael Summerer

    4/5

    ()

    About this audiobook

    How does art work? How does it move us, inform us, challenge us? Internationally renowned painter David Salle's incisive essay collection illuminates the work of many of the most influential artists of the twentieth century. Engaging with a wide range of Salle's friends and contemporaries-from painters to conceptual artists such as Jeff Koons, John Baldessari, Roy Lichtenstein, and Alex Katz, among others-How to See explores not only the multilayered personalities of the artists themselves but also the distinctive character of their oeuvres.

    Salle writes with humor and verve, replacing the jargon of art theory with precise and evocative descriptions that help the listener develop a personal and intuitive engagement with art. The result: a master class on how to see with an artist's eye.
    LanguageEnglish
    PublisherTantor Media, Inc
    Release dateAug 14, 2018
    ISBN9781541485488
    How to See: Looking, Talking, and Thinking About Art

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    Reviews for How to See

    4/5

    24 ratings8 reviews

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    • 5/5
      The Games by David Goldblatt is a thoroughly engaging history of the modern Olympics. The narration of the audio version is good though, as is usually the case, it can take some time to get used to the narrator's way of speaking. It was a short period of adjustment with the only issue I had was fully understanding some of the names with which I was unfamiliar, but that was due more to the nature of names rather than an issue with the narration.While the key athletic moments are certainly covered they are not the main thread which holds this history together. This is a history of the games in their entirety and not simply a recap of winners and losers. The politics, both within international athletic organizations and between nations, and the general historical context of the various games makes this primarily a social and cultural history.I would highly recommend this to anyone interested in the Olympics as a whole, what it has meant over time and how the games have been used for purposes other than simple athletic competition. If you primarily want the results there are plenty of resources for that, and particularly compelling sports moments usually have entire books dedicated to them, so if you want to read more about a few of the big athletic moments but without the global contextualization, you might prefer to find those other books. But if you're interested in the story of the games themselves with winners and losers mentioned and contextualized, but not sensationalized, you will find this to be a valuable resource.Reviewed from a copy made available by the publisher via LibraryThing Early Reviewers.
    • 2/5
      I'm not really sure where to begin with this review. The book is boring. If you're super into history and/or you're super into the Olympics, it may entertain you more than it did me. But there's no narrative, there's no intrigue - this book reads like a dry recitation of facts. The scope of the book is way too large, which helps explain why the author can't go in-depth into any one story, so you're stuck with surface-level facts and dry dry prose.The audiobook version contains additional problems. The narrator is awful - he reads this nonfiction book as if it were a Shakespearean master work. He can't pronounce simple words properly ("chagrin," "Adidas") and the mispronunciations are distracting - this is something a good producer should have been able to easily catch and fix.If you want dry history narrated by the "in a world...." movie trailer guy, then this is your book. And some people will go for that, I know. But this very much wasn't for me.
    • 4/5
      I listened to an audio version of this book which was quite entertaining. It laid out the beginnings of the Olympic movement and culminated in a commentary on the current state of Olympic politics (leading up to the Rio games in 2016). I thought the history well done and to be a great reflection on the larger regional and global political contexts in which the Olympic movement and games were situated.
    • 2/5
      My family loves the summer Olympics and one of my strongest memories from elementary school was a slide projector report I created on the history of the games. While this tome was significantly longer, more historically accurate, and more detailed, it also just didn't have the pizzazz to keep me engaged. Good for looking up a thing or two, but it took a long time to make it all the way through.
    • 4/5
      I received a free audiobook copy of The Games through the Library Things Early Reviewers program. Goldblatt's history of the modern Olympic Games from 1896 to the present is a top-down overview of the International Olympic Committee and organizing committees more than the stories of participants in the games and particular events that I had hoped for. Nevertheless, it's an interesting look at general trends and growth of the Olympics. For example, in the early 20th century the Olympics were more of a sideshow to World's Fairs (Paris, St. Louis, London) held over several months rather than discrete sporting events. Yet, the Intercalated Games of 1906 in Athens, which were inline with the Olympic movement's founder Pierre de Coubertin's vision of a quasi-religious sporting ceremony, yet Coubertin refused to attend. The Olympics came into their own in the 1920s and Los Angeles and Berlin used the games to make major vision statements for the future. After some quieter, austere post-war games, Rome, Tokyo, and Munich all used the Olympics to reintroduce their countries to the world, while Mexico City and Montreal attempted to introduce themselves to the world stage. The Lake Placid and Moscow games are the clearest examples of how the Olympics being outside politics was never true. The Los Angeles and Barcelona games showed that the Olympics could make a lot of people a lot of money, but Atlanta, Beijing, Sochi, and Rio showed that the Olympics makes money through the most exploitative and neoliberal practices possible.Goldblatt's narrative makes it clear that whatever lofty goals the Olympic movement professes the contemporary games fail to live up to them, and that this is pretty consistent with the Olympics's history. Whatever joys the Olympics bring, it does more harm than good.
    • 4/5
      the games by david goldblatt was a thoroughly interesting read. Very detailedand dense. gave me a eye opening view how the olympic games progressedthrough history. A definite good read and instructional.
    • 1/5
      I normally do not listen to audio books and I don't know how much that factored into my dislike of this book. It could be that I would have found the printed version just as boring, or it could be that Napoleon Ryan is a terrifically boring narrator with a ridiculous delivery. It was probably a combination of content and delivery. The book was very comprehensive when it came to covering the early history and development of the games. It also spent a lot of time on the city hosts and the International Olympic Committee (IOC). I would have liked to hear more about the athletes than the members of the IOC. Full disclosure: I won a free audio CD of this book in a LibraryThings giveaway.
    • 4/5
      This is not a book about how to see. But its subtitle is a fairly accurate summation of what you’ll get. In some thirty-three essays published across many years in various fora (mostly art magazines), David Salle does a lot of looking at art, a modicum of thinking about art, and a significant amount of talking (i.e. writing) about art. Salle is a highly respected artist himself. He’s the real business. He knows his stuff from paint brush to French theory, from drawing room to board room. And along the way he’s got to know (and like, or at least respect) nearly everyone he eventually writes about (because there’s no point writing about the other guys). Which isn’t to say that he isn’t at times critical of what his friends (or he, himself) produce. But for the most part he is typically appreciating here (as opposed to chastising), noting something he’s overlooked before, drawing connections that help him make sense of what he is seeing. And in explicating these observations, he does, in a way, help the reader see things too. In fact, I’d go so far as to say, following his example, that if I too had spent a lifetime producing and exhibiting and writing about art subsequent to “halcyon days” at CalArt while obtaining my MFA, I too might see things in much the way Salle does. But I suspect I wouldn’t be able to write about it so charmingly.And it is the writing here that really stands out. With easy erudition, personal anecdotes, and bon mots galore, Salle does the heavy lifting for the reader. Even of the many artists here whose work I do not know at all well, I felt that I learned something vital, or at least interesting. Although Salle abjures the language of theory, he is clearly familiar with it. And his anti-theory stance can only go so far before it begins to cultivate a theoretical language of its own. Nevertheless, most of the writing here is refreshingly accessible and engaging whether or not you end up agreeing with Salle’s opinions, a point on which he is not insistent.Definitely worth reading.