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Lives of the Artists

By Mary Voelz Chandler, Rocky Mountain News (Contact)

Published November 27, 2008 at 7 p.m.

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Lives of the Artists

* Nonfiction. By Calvin Tomkins. Henry Holt. $26. Grade: A-

Book in a nutshell: Veteran critic Tomkins has written extensively on art, in numerous books (on Marcel Duchamps, Robert Rauschenberg, Gerald and Sara Murphy, Roy Lichtenstein) and articles for The New Yorker. This book includes 10 pieces recently printed in that magazine, each concluding with the date of publication and a quick update on the artist's life and work.

Perhaps it's just a surmise, but my first thought was that Tomkins (or the publisher) riffed on Alban Butler's book Lives of the Saints for the title. That's because the 10 profiles - as diverse as Damien Hirst, Jeff Koons, Cindy Sherman, Jasper Johns, Richard Serra and Matthew Barney - gently dissect not only contemporary art superstars but flesh-and-blood humans whom one would never confuse with a hallowed being.

Best tidbit: "(Sculptor Richard) Serra talked himself out of what would have been the biggest sculptural commission of the decade, for the Pennsylvania Avenue Redevelopment Corp., in Washington, D.C. He clashed repeatedly with Robert Venturi, the architect in charge. When Serra was shown a watercolor rendering of two pylons designed by Venturi with stars and stripes on them, he said there might just as well be a swastika and an eagle on top; he was fired soon afterward."

Pros: Tomkins' works are lengthy and detailed, well-sourced with numerous support quotes. They're also strong on capturing lifestyle details and personality quirks, as well as the key underlying themes in each artist's work.

Cons: Sometimes the leisurely nature of each profile can make a reader feel as if the words are rambling all over the place. And for those who seek detachment from a journalist, Tomkins' pieces can seem somewhat personal, more "my wife and I were there" than traditional reportage.

Final word: It's not hard to find members of the art community who will be critical of others - anonymously. Tomkins, though, has found a way to elicit honest responses - including negative ones - from those he's asked for comment. It leaves readers with the sense that the they have spent a few minutes (or, more likely, longer) with an artist and learned something about both the person and the inspiration for the work.