The first biography of George Rickey, one of the greatest kinetic sculptors of the 20th century. His moving blades, squares, triangles, and circles can be found in museums and public spaces around the world, from bucolic landscapes to the streets of New York City. Now, here is the story of his life, his times, and his vision of balance that created something new―sculpture that is defined by movement.

Before his death in 2002, George Rickey created more than 3,000 moving sculptures, including hundreds of major outdoor installations. His “useless machines,” as he called them, achieved complete rotation, used multiple variations of the pendulum, and delighted viewers with the joyride effects of conical movement.

George Rickey: A Life in Balance follows the life of a renowned artist―first a painter, then a sculptor―who found inspiration all around him―as a child visiting the Singer Sewing Machine factory managed by his father, in his adventurous youth in the London and Paris art studios of the 1920s, as an engineer in the Army Air Corps during World War II, and later as a pioneer in academic art programs around the United States when he embarked on the sculpture he became famous for.

But this is not only the story of a single artist’s creativity and achievement but of Rickey’s life in the larger context of the twentieth century: from Depression-era America to the upheaval of World War II, from the rise of New York as the world’s art capital at mid-century to the tumultuous 1960s, when Rickey emerged as an international figure rubbing elbows with Alexander Calder, David Smith, Christo, and many others. It is also the story of an exceptional marriage and of Rickey’s charismatic, devoted wife, Edith Leighton, who managed her husband’s career and reputation in the high-powered art circles of New York, Berlin, and Los Angeles.

Belinda Rathbone (author of The Boston Raphael and Walker Evans: A Biography) has captured the spirit of an artist and his world in this deeply researched and engrossing biography. George Rickey: A Life in Balance is for any reader fascinated by the lives of artists, the creation of enduring art, or twentieth century modernism. Includes 30 photographs that document Rickey’s life and work.

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Throughout history, graffiti has served as an innately individualistic expression (such as Viking graffiti on the walls of eighth-century churches), but it has also evolved into a visual and narrative expression of a collective group. Graffiti brings to mind not only hip-hop culture and urban landscapes, but petroglyphs, tree trunks strewn with carved hearts symbolizing love, and million-dollar works of art. Learn about more graffiti artists and rebels such as: the band Black Flag, Lee Quinones and Fab 5 Freddy, Dandi, Zephyr, Blek le Rat, Nunca, Keith Haring, and more! Illustrated with stunning full-color photos of graffiti throughout time, The Popular History of Graffiti promises to be an important and dynamic addition to graffiti literature.

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How do people make sense of works of art? And how do they write to make others see the same way? There are many guides to looking at art, histories of art history and art criticism, and accounts of various ‘theories’ and ‘methods’, but this book offers something very unlike the normal search for difference and division: it examines the general and largely unspoken norms shared by interpreters of many kinds.

Ranging widely, though taking writing within the Western tradition of art history as its primary focus, Interpreting Art highlights the norms, premises, and patterns that tend to guide interpretation along the way. Why, for example, is the concept of artistic ‘intention’ at once so reviled and yet so hard to let go of? What does it really involve when an interpretation appeals to an artwork’s ‘reception’? How can ‘context’ be used by some to keep things under control and by others to make the interpretation of art seem limitless? And how is it that artworks only seem to grow in complexity over time?

Interpreting Art reveals subtle features of art writing central to the often unnoticed interpretative practices through which we understand works of art. In doing so, the book also sheds light on possible alternatives, pointing to how writers on art might choose to operate differently in the future.

Praise for Interpreting Art

‘It’s wonderful to have a book that focuses on what art historians actually do when we interpret art, as opposed to the claims we make about our methods and their histories… Interpreting Art shows how apparently well-understood paths of interpretation are actually half-articulated ideals that are as likely to run away with our texts as support them, and for that reason it should be on the desk of every doctoral student when they set out to write.’
James Elkins, School of the Art Institute of Chicago

‘In this lucid, sensible and insightful book, Sam Rose investigates interpretive practices common to almost all professional art historians, regardless of their objects of study, their professed “methods” and their schools of historical thought. Anyone curious about the “how” of art history as an intellectual and aesthetic endeavour will find Rose to be an invaluable guide.’
Whitney Davis, University of California at Berkeley

‘an admirable book’
Journal of Art Historiography

‘Rose does a great job in revealing underlying similarities in critical practice, and he furnishes his demonstration with vivid examples from various art writers, most of which are illustrated with figures. The book is thus a delight to read, well-organized and informative.’
British Journal of Aesethics

‘Interpreting Art offers a provocative and necessary reflection’
Revista internacional d’Art

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