Reviews
“As an artist, there is great pleasure in being understood. It is a joy to be interviewed by a fellow artist and writer who fully knows your work, its terms, foundations, and goals. As a reader, it is a joy to have such clear access to each artist’s unique work and voice.”
– Mira Schor, artist and author of Wet: On Painting, Feminism, and Art Culture
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“These wide-ranging discussions hold artistic, cultural, and social insights that will delight students of sociology, the arts, and anyone who wants a close inspection of artist working methods, influences, and history . . . Press Eject and Give Me the Tape’s intersection of understanding [is] essential for capturing the influences and nuances of today's working artists.”
– D. Donovan, Senior Reviewer, Midwest Book Review
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“Rubenstein takes pains to step out of his art practice to develop the discipline of checking in with other artists. It is important that he is an artist. The artists give him a certain trust, and he is an adept raconteur. For artists, and especially for those artists who aren’t born yet, books like this are priceless.”
– Michael Rees, professor of sculpture and digital media and director of the Center for New Art at William Patterson University
To purchase the print book: Bookshop, Barnes & Noble, Amazon. To purchase the ebook: Apple ibooks and other retailers.
“Art criticism was essentially boring ad copy designed to serve the art market’s corporate overlords until Bradley Rubenstein came along to make it relevant for the rest of us. Grand visions, standup comedy, punk, death metal, art history, celebrity decadence, and cocaine. Rubenstein has invented a form of participatory art criticism whose observations actually make the art world of the twenty-first century sound like a fun place to be.”
–Michael Lee Nirenberg, filmmaker and author of Earth A.D.: The Poisoning of the American Landscape and the Communities that Fought Back, Feral House/Process Media
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“Rubenstein cultivates a delightful interplay between criticism and outrage. He can inject these feelings into writings that use the most eloquent language to point out an artist’s ironies and inconsistencies. Usually art criticism involves staid language, whether it’s calmly presented or passionate in nature. Rubenstein’s voice is both analytical and gritty, often moving into the realm of candid street talk tempered by an intellectual overlay that is pointed, intriguing, and anything but dull.”
–D. Donovan, Senior Reviewer, Midwest Book Review
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“Rubenstein has a thing about art. He wants it woven into the plot line. He thinks art is best understood when it takes a back seat to the narrative, informs it, drives it.”
–Liz Markus, artist
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“It is rare to read art criticism that isn't either soured by its writer's failed art or self-aggrandizing, overbearing personality. [Rubenstein] is both kind and generous.”
–Stuart Servetar, Artholes
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“Bradley Rubenstein’s writing opens up insights both haptic and ‘meta.’ It clears up our transitional ideal of the thing itself—guided like a post-Freudian notion, there exists a consciousness that includes the preconscious and unconscious mind. We are aware of the negotiated space of the creative mind and fiction of art. Rubenstein brings new ways into the constructed space of the thing we see. He is unafraid of the existence of a temporary and contemporary space that truth may exist within.”
–Peter Williams, artist
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“The Black Album is equal parts Rosalind Krauss, Michel Foucault, Charles Bukowski, and Cindy Adams. Bradley Rubenstein is the Deadpool of cultural criticism.”
–Alex Thiel, filmmaker
Buy Bradley Rubenstein's books at Spoonbill & Sugartown Books.
218 Bedford Avenue, Brooklyn, NY 11249
718-387-7322, 10 a.m. to 10 p.m. daily
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Also available at Bookshop.org and other retailers.
