Steel Shadows: Murals and Drawings of Pittsburgh

Rating:
Summary: Cooper Breaks New Ground
Review: Douglas Cooper's Steel Shadows is a gem. Although it is specifically about Pittsburgh, it is really about how we see, portray, and interact with the landscape around us, urban or rural. Cooper is first a wonderful visual artist, and has allowed us a rare glimpse into his methods here. Rather than look far afield for his subject matter, he has taken on the challenge of visioning his native city, in immense and powerful murals, which are remarkably well re-produced in the book. Cooper can also write, and illustrates with his words the process of producing the murals and the logic behind them. Together, his drawings and text serve to usher us into the world of Pittsburgh, that singularly muscular and angular American city, and to cast some light on what it is to be an artist at the top of one's game, working hard to make that art - in this case drawing - relevant and useful in a changing world. A very pleasing, entertaining, and thought-provoking book.

Rating:
Summary: Pittsburgh and Cooper: A 360 Degree Panorama
Review: Imagine you are standing at the top of a cliff in a hilly city or on top of a skyscraper in a flatter one. Slowly rotate 360 degrees, taking in all that you can see as you turn. Then imagine doing the same thing 10 years ago, 20 years ago, 30 years ago and work older landscapes into your contemporary ones. Then imagine wrapping all that you see and imagine onto a flat surface. I don't think I could actually do that - but Douglas Cooper can and has. Cooper's new book, STEEL SHADOWS, does three distinct tasks. It offers an insightful autobiographical sketch on how Cooper, an architect/professor at Carnegie Mellon University, came to draw the way he draws. Writing in a naive style, he recounts 2nd grade experiments on perspective, his education at Carnegie Tech, his sojourn to Europe to study buildings, and the evolving style which puts myriad angles continuously onto a flat piece of paper in a way which makes sense - to the viewers as well as to Cooper. The second task is to help the reader fall in love with the landscape of Pittsburgh as Cooper did, first as a 6-year-old enamoured of trains. Cooper's drawings in STEEL SHADOWS, excellent reproductions of the massive murals installed permanently in a variety of sites in Pittsburgh, give one the feel of the steep mountainsides, winding streets, and crumbling industrial landscape of the city. Cooper seems to love it all, and his amazing drawings draw us into his love affair. The third element of STEEL SHADOWS is an illustrated collection of writings on Pittburgh including excerpts from architectural historian Franklin Toker, poet Peter Blair, writer Annie Dillard, historian William Serrin, and novelist Marcia Davenport. My favorite excerpt in the last section is actually by Cooper, himself. "Living with Meg across from Forbes Field" allows him to indulge in his second passion after Pittsburgh: baseball. Along with stunning drawings of the old ball park, Cooper tells us of the neighborhood of South Oakland, life in the bleachers in Forbes Field, and his life as a young married man sitting on his porch directly across the street from Forbes Field waiting for foul balls to be hit out of the stadium and to him. One might question whether this book would be interesting to those who are neither artists nor Pittsburghers. I am not an artist, but as a longtime fan of Cooper's work, was intrigued with his thoughts about how he came to draw the way he does. His writing is simple but not simplistic; even technical sections were clear to me, a layman. I am a Pittsburgher, so cannot state how one from another city will enjoy STEEL SHADOWS. Cooper's drawings, though, transcend the specific place he portrays. His urban landscape and his vision of the ways in which places and times come together have universal appeal. It is Pittsburgh that he draws, but it is Cooper himself as well as his city that we see.

Rating:
Summary: Pittsburgh and Cooper: A 360 Degree Panorama
Review: Imagine you are standing at the top of a cliff in a hilly city or on top of a skyscraper in a flatter one. Slowly rotate 360 degrees, taking in all that you can see as you turn. Then imagine doing the same thing 10 years ago, 20 years ago, 30 years ago and work older landscapes into your contemporary ones. Then imagine wrapping all that you see and imagine onto a flat surface. I don't think I could actually do that - but Douglas Cooper can and has. Cooper's new book, STEEL SHADOWS, does three distinct tasks. It offers an insightful autobiographical sketch on how Cooper, an architect/professor at Carnegie Mellon University, came to draw the way he draws. Writing in a naive style, he recounts 2nd grade experiments on perspective, his education at Carnegie Tech, his sojourn to Europe to study buildings, and the evolving style which puts myriad angles continuously onto a flat piece of paper in a way which makes sense - to the viewers as well as to Cooper. The second task is to help the reader fall in love with the landscape of Pittsburgh as Cooper did, first as a 6-year-old enamoured of trains. Cooper's drawings in STEEL SHADOWS, excellent reproductions of the massive murals installed permanently in a variety of sites in Pittsburgh, give one the feel of the steep mountainsides, winding streets, and crumbling industrial landscape of the city. Cooper seems to love it all, and his amazing drawings draw us into his love affair. The third element of STEEL SHADOWS is an illustrated collection of writings on Pittburgh including excerpts from architectural historian Franklin Toker, poet Peter Blair, writer Annie Dillard, historian William Serrin, and novelist Marcia Davenport. My favorite excerpt in the last section is actually by Cooper, himself. "Living with Meg across from Forbes Field" allows him to indulge in his second passion after Pittsburgh: baseball. Along with stunning drawings of the old ball park, Cooper tells us of the neighborhood of South Oakland, life in the bleachers in Forbes Field, and his life as a young married man sitting on his porch directly across the street from Forbes Field waiting for foul balls to be hit out of the stadium and to him. One might question whether this book would be interesting to those who are neither artists nor Pittsburghers. I am not an artist, but as a longtime fan of Cooper's work, was intrigued with his thoughts about how he came to draw the way he does. His writing is simple but not simplistic; even technical sections were clear to me, a layman. I am a Pittsburgher, so cannot state how one from another city will enjoy STEEL SHADOWS. Cooper's drawings, though, transcend the specific place he portrays. His urban landscape and his vision of the ways in which places and times come together have universal appeal. It is Pittsburgh that he draws, but it is Cooper himself as well as his city that we see.