- Hardcover: 208 pages
- Publisher: Thames & Hudson (11 April 2011)
- Language English
- ISBN-10: 0500238820
- ISBN-13: 978-0500238820
- Product Dimensions: 27.9 x 23.6 x 3 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (4 customer reviews)
- Amazon Bestsellers Rank: 431,425 in Books (See Top 100 in Books)
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More About the Author
Product Description
Review
'Enjoyable ... Petry so obviously knows his stuff'
--Art Quarterly
'Glorious'
--Harper's Bazaar
`Timely...Petry has identified a significant art world trend' --The Art Newspaper
`A handsome volume...provides pause for thought, and should be commended for drawing attention to the ideas of collaboration' --Ceramic Review
'Refreshingly fun to read and look at' --State of Art
'The arguments presented in this glossy erudite art book are bold, intriguing ... beautiful'
--GT (Gay Times)
--Art Quarterly
'Glorious'
--Harper's Bazaar
`Timely...Petry has identified a significant art world trend' --The Art Newspaper
`A handsome volume...provides pause for thought, and should be commended for drawing attention to the ideas of collaboration' --Ceramic Review
'Refreshingly fun to read and look at' --State of Art
'The arguments presented in this glossy erudite art book are bold, intriguing ... beautiful'
--GT (Gay Times)
Product Description
Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the author of such a work? And just what is the difference between a work of art and a work of craft? In the first book of its kind, Michael Petry tackles these questions head on, exploring the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in creating some of todays most innovative and highly sought-after works of contemporary art. The Art of Not Making includes artworks by Grayson Perry, Ai Weiwei, Matthew Barney, Chris Burden and Louise Bourgeois alongside original interviews with craftsmen who explore how the collaboration with a skilled maker results in objects that are exquisitely made and finished.
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Hardcover
Fascinating study of how artist increasingly have work made for them, ranging from those involved and learning from the `fabricator' to those who are completely detached. Full of intriguing work I wasn't familiar with, he divides it by materials (glass, metal, stone, textiles etc). The feeling of fabricators as master `craft' people is emphasised by this and particularly since painting is not covered. I'm an artist inherently resistant to art conceived by one person but made totally by another (usually unacknowledged) particularly with no understanding of the material by the 'ideas merchant' but I have to say this book gave me much pause for thought. Its undeniable that we are better off with some of the wonderful art shown than without it, and its probably better for having been farmed out to `experts'. Petry tries hard to credit the makers not just the artists which is great and any idea that craft is tame is dispelled by some very edgy and provocative themes. His text is immensely readable, without being dumb, not the usual art-speak babble just clear and straightforward so thank goodness for that. There's far too many flash looking, but totally unreadable books on contemporary art out there. This isn't one of them.
Format:Paperback
Really good! A must read!!!, this book explores why artists don't make their work. A good read fr anyone with biased thoughts on not making!
Format:Paperback
'The Art of Not Making" is a study of contemporary art that is dependent for its realisation on expert contributions from artisans. The author, Michael Petry, is a practising artist - a couple of examples of his work are included - and he is well equipped to discuss the work illustrated in the over 300 colour illustrations.
After a contextual introduction, the book has been divided by material: a choice that produces one rather strange consequence, when work in wood finds itself in a final section devoted to 'Other Materials', while glass, metal, stone and textiles - not obviously more difficult or important - earn their own sections. An appendix features interviews with artisans and artists that throw further light on their working relationships.
The work discussed is of a uniformly high standard, and Petry's text makes clear that the relationship between artist and artisan in such work may take many different forms, from almost completely hands-off to intense involvement on the part of the artist. This book makes a coherent case for work of this type. It is hard to imagine the task done better. The wide variety of materials and techniques involved make for a visual feast.
After a contextual introduction, the book has been divided by material: a choice that produces one rather strange consequence, when work in wood finds itself in a final section devoted to 'Other Materials', while glass, metal, stone and textiles - not obviously more difficult or important - earn their own sections. An appendix features interviews with artisans and artists that throw further light on their working relationships.
The work discussed is of a uniformly high standard, and Petry's text makes clear that the relationship between artist and artisan in such work may take many different forms, from almost completely hands-off to intense involvement on the part of the artist. This book makes a coherent case for work of this type. It is hard to imagine the task done better. The wide variety of materials and techniques involved make for a visual feast.
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