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9781565842489

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Interesting and thoughtful. . . . Her critiques are often delightfully acidic. . . . A solid contribution to popular geography. &#8212 Kirkus Reviews Lippard has signaled the highest political hopes of art, from her early embrace of '60s conceptual art to her '70s support of feminism to her careful documentation in the '80s of the art of America's ethnic communities. . . . [ The Lure of the Local ] arrives at an auspicious time, as interest in community history is on the rise throughout the country. . . . An encyclopedic study of the art of community. &#8212 The Oregonian An excellent reference guide to recent and historical place-oriented art and activism. &#8212 Preservation

"""Interesting and thoughtful. . . . Her critiques are often delightfully acidic. . . . A solid contribution to popular geography."" —Kirkus Reviews ""Lippard has signaled the highest political hopes of art, from her early embrace of '60s conceptual art to her '70s support of feminism to her careful documentation in the '80s of the art of America's ethnic communities. . . . [The Lure of the Local] arrives at an auspicious time, as interest in community history is on the rise throughout the country. . . . An encyclopedic study of the art of community."" —The Oregonian ""An excellent reference guide to recent and historical place-oriented art and activism."" —Preservation"

A discursive look at the ongoing transformation of the American landscape. Art critic Lippard (Mixed Blessings, not reviewed, etc.) posits that Americans are rapidly losing their sense of place and their local loyalties as a result of the country's fin-de-siecle homogenization, courtesy of look-alike Walmarts and McDonald's, strip malls and housing developments, and thanks as well to hybrid cultural styles that see a new Trump luxury hotel in downtown New York augured in by practitioners of the Chinese art of feng shui, or geomancy. Lippard writes with undisguised nostalgia for a different, more historically aware America; at the top of each text page runs a journal of her life in the little town of Georgetown, Me., where such virtues presumably still obtain. Recognizing that regionalism is a cultural invention and as such somewhat artificial, she explores the possibilities for place-based public art that has both roots and reach and that honors local history and mores. She also looks into the prospects for preserving that older, idiomatic, vernacular America while allowing that, given their druthers, most people would often rather build for the future than maintain the past. (Only lack of money keeps them from doing so, she writes, quoting a colleague who observes that poverty is a wonderful preservative of the past. ) Some of her themes - for instance, alienated displacement and the possibility of a multicentered society, whatever that is - grow a little wearisome as they are repeated throughout the text. But on the whole Lippard's narrative is interesting and thoughtful, and her critiques are often delightfully acidic, especially when she deals with enervating planned suburbs and gated communities and the monstrosities that pass for public art today. The more than 150 illustrations in color and black-and-white complement and extend her discussion very nicely. A solid contribution to popular geography. (Kirkus Reviews)

Author Information

Lucy R. Lippard is an internationally known writer, activist, and curator. She has authored twenty-three books, has curated more than fifty major exhibitions, and holds nine honorary doctorates of fine arts. Her books include The Lure of the Local, Partial Recall, The Pink Glass Swan, Mixed Blessings, On the Beaten Track, and Overlay, all published by The New Press. Lippard is the recipient of numerous awards, most recently the Carolyn Bancroft History Prize from the Denver Public Library and grants from Creative Capital and the Lannan Foundation. She lives in New Mexico.

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