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by Saul Steinberg (Author), Nicholson Baker (Introduction by), Harold Rosenberg (Afterword by)
A seminal work by an artist whose drawings in The New Yorker, LIFE, Harper's Bazaar, and many other publications influenced an entire generation of American artists and writers.
Saul Steinberg's The Labyrinth, first published in 1960 and long out of print, is more than a simple catalog or collection of drawings. These carefully arranged pages record a brilliant, constantly evolving imagination confronting modern life. Here is Steinberg, as he put it at the time, discovering and inventing a great variety of events: "Illusion, talks, music, women, cats, dogs, birds, the cube, the crocodile, the museum, Moscow and Samarkand (winter, 1956), other Eastern countries, America, motels, baseball, horse racing, bullfights, art, frozen music, words, geometry, heroes, harpies, etc." This edition, featuring a new introduction by Nicholson Baker, an afterword by Harold Rosenberg, and new notes on the artwork, will allow readers to discover this unique and wondrous book all over again.Author Biography
Famed worldwide for giving graphic definition to the postwar age, Saul Steinberg (1914-1999) had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades, he was equally acclaimed for the drawings, paintings, prints, collages, and sculptures he exhibited internationally in galleries and museums. He published nineteen books in his lifetime, including The Art of Living, The New World, and The Discovery of America.
Nicholson Baker is the author of ten novels and six works of nonfiction, including A Box of Matches and The Anthologist, both New York Times Notable Books of the Year, and Double Fold, which won a National Book Critics Circle Award. His work has appeared in The New Yorker, Harper's, and The New York Review of Books. He lives in Maine with his family. Harold Rosenberg (1906-1978) was an art historian and critic who is remembered as one of the most incisive and supportive critics of abstract expressionism. He was a regular contributor to The Partisan Review and served as an art critic at The New Yorker.
