At the summit of “The Irascibles,” Life magazine’s 1951 portrait of the Abstract Expressionist painters, stands an imperious-looking woman, the Romanian-born artist Hedda Sterne. She is the only female in the photograph and, in some sense, the most prominent figure—the “feather on top,” as she once put it. Now, at age one hundred, she is the sole survivor. “I am known more for that darn photo than for eighty years of work,” Sterne told me a few years ago. “If I had an ego, it would bother me.” Plus, she said, “it is a lie.” Why? “I was not an Abstract Expressionist. Nor was I an Irascible.”
We've Got Blog: How Weblogs Are Changing Our Culture
compiled and edited by John Rodzvilla, with an introduction by Rebecca Blood
Against the Machine: Being Human in the Age of the Electronic Mob
by Lee Siegel
Two years ago, I was given a dreadful idea for a book: create an anthology of blogs. It could not be done, I was sure. Books are tight. Blogs are reckless. Books are slow. Blogs are fast. Books ask you to stay between their covers. Blogs invite you to stray.
Krazy & Ignatz: The Complete Full-Page Comic Strips
by George Herriman, edited and annotated by Bill Blackbeard, designed by Chris Ware
Masters of American Comics
exhibition catalog edited by John Carlin, Paul Karasik, and Brian Walker
We call him “Cat,” We call him “Crazy” yet is he neither. —George Herriman on the title character of Krazy Kat George Herriman’s comic strip Krazy Kat is its own country. The borders are forbidding and you have to accustom yourself slowly to its landscape and its …
In “The Last Irascible,” my new essay in the The New York Review, I write about the idiosyncratic life of the hundred-year-old artist Hedda Sterne, drawing on an interview I recorded with her in 2003. Born in Romania in 1910, Sterne fled German-occupied Bucharest and eventually settled in New York, where she became one of the few women in a circle of Abstract Expressionist painters that included Jackson Pollock, Willem de Kooning, Mark Rothko, and Franz Kline. But Sterne thought of herself as an anti-Abstract Expressionist, someone with no use for the cult of personality and personal gesture. Rarely did she paint a pure abstraction. In the 1960s she drew lettuce heads as crazy mazes, as if she were a worm inside, investigating. She pointed out that even her webby white-on-white drawings—made in the 1990s, when she was practically blind—represented the “floaters and flashers” across her field of vision. Although major museums acquired her work, and despite having one of the longest exhibition histories of any living artist (seventy years), she is hardly well known. Here is a selection of her work.