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Essays on artists who have withdrawn from the art world or have adopted an openly antagonistic position against it.

This collection of essays by Martin Herbert considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms. A large part of the artist's role in today's professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating th

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Book ID Asin: 3956792009
Book Title: Tell Them I Said No (Sternberg Press)
Book Author: Martin Herbert
Book Format and Price:
Book Format Name: Paperback
Book Format Price: $20.49
Book Price: $20.49
Book Category: Books, Literature & Fiction, History & Criticism and unknown
Book Rating: 30 ratings

Tell Them I Said No (Sternberg Press) by Martin Herbert Book Review

Name: mtheorie
Rating: 4.0 out of 5 stars
Title: Verbose but useful
Date: Reviewed in the United States on June 7, 2019
Review: Martin Herbert is well researched, well worded, and concise when it comes to the main tenets of this meander through "objection." The author lingers far too long on the actual material details of the works from the artists he has chosen to look at, but it's a forgivable offense in the end.

Name: Natalie Fragola
Rating: 5.0 out of 5 stars
Title: Five Stars
Date: Reviewed in the United States on June 18, 2018
Review: Highly recommended read for artists

Name: GiovanniGF
Rating: 5.0 out of 5 stars
Title: Should I stay or should I go?
Date: Reviewed in the United States on March 7, 2017
Review: Herbert writes sensitively and beautifully — he’s an outstanding stylist — about the problematic relationship of artists to the art world. The 10 figures he profiles fall, roughly, into three categories: those who play with the system, those who struggle against it, and the ones who walked away in dissatisfaction.
The first group, all descendants of Marcel Duchamp, includes David Hammons, who, among other things, has placed installations made of refuse in vacant lots in Harlem and sold snowballs on the street; Stanley Brouwn, who, since 1972, has insisted that no images of his whimsical work or any biographical information be published; Lutz Bacher (a pseudonym), whose mixed-media work spurns categorization, who refuses interviews, and whose gender wasn’t even known for years; and Trisha Donnelly, who has used rumor as part of her artwork, who forbids her gallery to write press releases, and who also refuses interviews (the title of the book is her response through her gallery to a request from Herbert).
The second group’s relationship to the art world seems to be dictated in part by the artists’ temperaments. Agnes Martin suffered from schizophrenia and moved to New Mexico just as her career started taking off. Albert York had difficulty speaking to people and was so tortured by the feeling that his paintings were inadequate, he often avoided exhibitions and sales. Cady Noland said she can no longer make art because tracking how her installation work is misrepresented takes up all her time. And the career of the nearly forgotten Christopher D’Arcangelo — who once had an exhibition in which he asked that his name be replaced by a blank space on publicity materials — only lasted four years before he committed suicide.
The third group simply found the art world insufficient. Charlotte Posenenske stopped making conceptual minimal sculpture to become a social worker, and Laurie Parsons, mortified by the idea that people were buying her work, responded to an invitation for an exhibition in Germany by choosing instead to work at a psychiatric hospital and with developmentally challenged children.