|Item type||Home library||Collection||Class number||Status||Date due||Barcode||Item reservations|
|Long loan||Camberwell College of Arts Main collection||Printed books||701 SOL (Browse shelf (Opens below))||Available||54185914|
|Long loan||London College of Communication Main collection||Printed books||701 SOL (Browse shelf (Opens below))||Available||54239649|
|Long loan||London College of Communication Main collection||Printed books||701 SOL (Browse shelf (Opens below))||Available||54239648|
Enhanced descriptions from Syndetics:
To Rebecca Solnit, the word "landscape" implies not only literal places, but also the ground on which we invent our lives and confront our innermost troubles and desires. The organic world, to Solnit, gives rise to the social, political, and philosophical landscapes we inhabit. As Eve Said to the Serpent skillfully weaves the natural world with the realm of art--its history, techniques, and criticism--to offer a remarkable compendium of Solnit's research and ruminations.
The nineteen pieces in this book range from the intellectual formality of traditional art criticism to highly personal, lyrical meditations. All are distinguished by Solnit's vivid, original style that blends imaginative associations with penetrating insights. These thoughts produce quirky, intelligent, and wryly humorous content as Solnit ranges across disciplines to explore nuclear test sites, the meaning of national borders, deserts, clouds, and caves--as well as ideas of the feminine and the sublime as they relate to our physical and psychological terrains.
Sixty images throughout the book display the work of the contemporary artists under discussion, including landscape photographers, performance artists, sculptors, and installation artists. Alongside her text, Solnit's gallery of images provides a vivid excursion into new ways of perceiving landscape, bodies, and art. Animals and the human body appear together with space and terra firma as Solnit reconfigures the blurred lines that define nature.
Originally published: 2001.
Includes bibliographical references and index.
Table of contents provided by Syndetics
- Introduction: Bird's-Eye View (p. 1)
- The Bomb: Lise Meitner's Walking Shoes (p. 15)
- The Overview: Elements of a New Landscape (p. 45)
- The Desert: Scapeland (p. 63)
- The Camera
- Unsettling the West: Contemporary American Landscape Photography (p. 90)
- Look the Other Way: New Western Landscapes (p. 99)
- The Computer: The Garden of Merging Paths (p. 109)
- The Walls: Policing Paradise, or Et in California Ego (p. 123)
- The Museum: Noah's Alphabet (p. 133)
- The Signs: Crossing (p. 143)
- The Foundation: Dirt (p. 149)
- The Making: Landscapes of Emergency (p. 160)
- Ecstasies of Form
- Caves (p. 177)
- The Atmosphere That Surrounds Solid Bodies (p. 181)
- Perspective Lessons
- Timelines (p. 184)
- The Vanishing Point (p. 186)
- Backward Glance: Flower Thieves (p. 188)
- The Nature of Gender / the Gender of Nature
- Uplift and Separate: The Aesthetics of Nature Calendars (p. 200)
- The View from Mount Venus: Notes on the Aesthetic of the Exquisite (p. 205)
- Afterword: The Present (p. 219)
- Notes (p. 223)
- Acknowledgments (p. 231)
- Index (p. 233)
Reviews provided by Syndetics
Library Journal ReviewIn this diverse and intelligent collection, Solnit (Wanderlust) gathers 18 examples of her ongoing investigation of art, landscape, feminism, and the importance of how we relate to the places in which we live. Her counterintuitive attitude is always in the foreground. Here, it frames the thinking behind this book: "I always thought Eve and the serpent must have conversed at greater length than Genesis records," she writes. And that imagined conversation, of which Eve was an active part, is Solnit's inspiration for looking at the world with an eye toward complexity. Thus, she interweaves ideas about physics, walking, the difference between nature photography and landscape photography, and much more with discussion of a number of artists (Richard Misrach, Robert Dawson, and Petah Coyne, to name only a few) to make a challenging but rewarding whole. Though most of these pieces have been published before, their appearances were scattered in magazines and in art books; to have them together offers an excellent vantage point from which to examine and enjoy the thinking of this maverick. Recommended for all art collections. Rebecca Miller, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publishers Weekly ReviewInvoking Hannah Arendt's observation, "Metaphors are the means by which the oneness of the world is poetically brought about," Solnit launches into a mlange of cultural and political criticism in these 19 essays (many previously published). But Solnit doesn't tarry long on easy targets, diving instead into political thickets, guided by the preoccupation with environmentalism and social justice that has informed her previous books (the highly praised Wanderlust: A History of Walking and The Hollow City were both published within the last year). Here, she addresses subjects like the myth of Eden; the politics and aesthetics of nature photography and calendars; interconnections between the WWII-era nuclear physicists' frequent walks and the hydrogen bomb; the metaphoric significance of natural history museums; and the meaning, for women, of the "deadly" Medusa myth. While her frame of reference encompasses political, academic and historical territories, Solnit's foremost theme prevails: the tensions between human quests for "civilization" and for nourishment in nature. Neatly balancing reportage, critical opinion and literary metaphor, Solnit standing clear-eyed on the shoulders of Walter Benjamin, Kristeva, Rachel Carson and many others attempts a bold, critical synthesis that, if occasionally unequal to its lofty goals, always provokes and challenges. Solnit's important contribution to contemporary feminist and environmental literature, as well as social and art criticism, is equally crucial for ushering "real-world" environmental politics fully and thoughtfully into the ivory tower. Photos. (May) (c) Copyright PWxyz, LLC. All rights reserved
Author notes provided by SyndeticsRebecca Solnit writes extensively on photography and landscape. She is a contributing editor to Art Issues and Creative Camera and is the author of three books. She has contributed essays to several museum catalogues including Crimes and Splendors: The Desert Cantos of Richard Misrach and the Whitney Museum's Beat Culture and the New America. She was a 1993 recipient of a National Endowment for the Arts Fellowship.
(Bowker Author Biography)