Why a Painting Is Like a Pizza: A Guide to Understanding and Enjoying Modern Art

The book was used one time as a reference book for a class. Other than that I never really used it.

This book is intended to introduce the outsider to 'modern' art, in this context meaning avant garde art after 1900. It left me vaguely dissatisfied, but still it's a helpful introduction. The pizza metaphor didn't work too well for me: if I received a pizza with "vivid red and green peppers, glossy black olives, translucent bits of onion, light brown mushrooms slices", I'd be horrified. I will concede that pizza components can be more or less aesthetically arranged, but there is no arrangement that could make those ingredients appealing to me. And if I was sharing a pizza with someone who likes "garbage" pizzas, I'd want those ingredients all on their side, no matter how it looks. Pizzas are primarily for eating. Of course, I'm extremely literal-minded, which may be my problem with the entire subject. Heller's take on the matter is that art is whatever people choose to call art, and one is entitled to like or dislike whatever one chooses. I can have no quarrel with that. In that case, Heller's quotation of Ambrose Bierce in The Devil's Dictionary: "Art. This word has no definition" is apt. (I do not mean to imply that this is a problem, not being one for Platonic ideals.) This is not, of course, a universal opinion among art critics, including those championing modern art. I don't sympathize too much with Heller's view of modern artists as persecuted: they can be quite nasty and intolerant in turn. As long as one does not try to separate art into fine art versus graphic art versus design, I will say that many abstract works are visually pleasing. I really like the stripe paintings in figure 18 & 19, but I don't see that they are morally different from wallpaper. And I don't see how Morris Lewis's painting (figure 23) is made intriguing by drip marks. Heller deals with questions about the difficulty of making modern art, which doesn't bother me, but is apparently of great concern to some people. I didn't like Jackson Pollack's work before I knew he poured on the paint, and I like it neither more nor less for knowing that. Even something that looks easy to do may require a good eye - I can appreciate a certain friend's ability to choose colors and patterns, and I freely admit that I couldn't do the same, even though I have mastered getting dressed. I really appreciate Heller's efforts, but for the most part, I'm not persuaded that most of these pieces are interesting or would repay the effort that she urges us to put into them. I once saw an Ad Reinhart exhibit at the Guggenheim. Heller et al. are quite right: his black paintings are in fact made up of separate squares. I examined the paintings carefully and read analyses about him, (mostly they pointed out that the black paintings are made up of separate squares), but I still don't know why I should care that they are. I am tired of the phrase: "the artist forces the viewer ... ". This completely underestimates my strength of character. Despite my obvious lack of e

This book is engagingly written, a "quick read" and, surprisingly for art history or criticism, has some great quotes from artists in it which give another insight into the art as well. The author has a passion for modern art, and the skill to make her passion understood. Highly recommended. Also has some lovely color reproductions to contemplate.

So much of what I have read about modern art goes in one ear and out the other. I think this is because writers feel obligated to impart a certain body of knowledge to the reader. Nancy Heller, however, starts with the questions people have about modern art and then proceeds to answer them. She even concludes the book with a chapter of answers to questions most asked about modern art.If you are planning to read your first book about modern art, this is the one. If you are planning to read your very LAST book about modern art, this too is the one.

If you enjoy looking at modern art, have trouble understanding what you are seeing, and want a simple discussion to help your understanding, then this book is for you. The book does not bog down in explaining the various artistic movements. Rather, it gives discussions that help you appreciate diverse art forms, including "stripe" paintings, monochrome paintings, "drip" paintings, and a variety of sculpture (including boxes, fluorescent lights, and "everyday" objects). Ms. Heller often acknoweledges the criticism that these art forms receive, but explains why a child couldn't really do it, and what makes it art. Ms. Heller even devotes a chapter to "commonsense answers" to "often asked questions" about modern art. The reproductions and photos in the book are well done and seem true to color. And, not to be underestimated, the book is short (under 200 pages, but with many photos), readable, and easy to understand without talking down to the readers. After reading the book, you may still not like a painting or sculpture, but you will certainly have a better appreciation for it. I actually take this book to the museum and refer to it, even though I am reading more in-depth books on modern art. I rarely give five-star reviews, but I cannot say enough good things about this book.