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Jim Hodges (Paperback)
Jane M. Saks, Robert Hobbs, Julie Ault
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R892
Discovery Miles 8 920
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Ships in 12 - 17 working days
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The first in-depth survey of the life and work of Jim Hodges, one
of America's most celebrated contemporary artists Jim Hodges is an
artist who addresses issues such as memory, love, and existential
struggles through a multifaceted practice that includes
photography, screen printing, and sculpture. His use of found
materials including rocks and denim, coupled with the adoption of
transitory shapes like spiderwebs, speaks of a personal experience
that resonates on a collective level filtered through elements
available in nature. Mysterious, beautiful, poetic, and
conceptually deep, Hodges's work has the rare quality of being
simultaneously thought-provoking and visually beautiful.
Felix Gonzalez-Torres, one of the most influential artists of his
generation, lived and worked resolutely according to his own
idealistic principles, determined to "make this a better place for
everyone." He combined elements of Conceptual art, Minimalism,
political activism, and poetic beauty in an ever-expanding arsenal
of media, including public billboards, give-away piles of candy and
posters, and ordinary objects--clocks, mirrors, light
fixtures--used to startling effect. His work challenged the notions
of public and private space, originality, authorship and--most
significantly--the authoritative structures in which he and his
viewers functioned. Editor Julie Ault has amassed the first
comprehensive monograph to span Gonzalez-Torres's career. In the
spirit of his method, she rethinks the very idea of what a
monograph should be. The book, which places strong emphasis on the
written word, contains newly commissioned texts by Robert Storr and
Miwon Kwon among other notables, as well as significant critical
essays, exhibition statements, transcripts from lectures, personal
correspondence, and writings that influenced Gonzalez-Torres and
his work. Ample visual documentation adds another important layer
of content. We see works not just in their completed state, but
often in process, which for Gonzalez-Torres could mean the process
of disappearing as viewers interacted with them. A crucial
reference.
At 18, Corita Kent (1918-1986) entered the Roman Catholic order of
Sisters of the Immaculate Heart of Mary in Los Angeles, where she
taught art and eventually ran the art department. After more than
30 years, at the end of the 1960s, she left the order to devote
herself to making her own work. Over a thirty-five-year career she
made watercolors, posters, books and banners--and most of all,
serigraphs--in an accessible and dynamic style that appropriated
techniques from advertising, consumerism and graffiti. The earliest
of it, which she began showing in 1951, borrowed phrases and
depicted images from the Bible; by the 1960s, she was using song
lyrics and publicity slogans as raw material. Eschewing convention,
she produced cheap, readily available multiples, including a
postage stamp. Her work was popular but largely neglected by the
art establishment--though it was always embraced by such design
luminaries as Charles and Ray Eames, Buckminster Fuller and Saul
Bass. More recently, she has been increasingly recognized as one of
the most innovative and unusual Pop artists of the 1960s, battling
the political and religious establishments, revolutionizing graphic
design and making some of the most striking--and joyful--American
art of her era, all while living and practicing as a Catholic nun.
This first study of her work, organized by Julie Ault on the
twentieth anniversary of Kent's death, with essays by Ault and
Daniel Berrigan, is the first to examine this important American
outsider artist's life and career, and contains more than 90
illustrations, many of which are reproduced for the first time, in
vibrant, and occasionally Day-Glo, color.
A beautiful presentation of a new suite of works made for the Menil
Collection by Allora & Calzadilla The Puerto Rico-based
collaborative duo Allora & Calzadilla created Specters of Noon
as a group of seven large-scale works specifically for the Menil
Collection. The ensemble is orchestrated around the idea of solar
noon, a notion derived from Surrealist texts by Caillois, Cesaire,
and others that probe the transcultural mythology of noon-a time
when shadows vanish and delirious visions momentarily reign. The
works include light projections, guano, ship engines, live vocal
performance, and coal. Using the Menil's Surrealist holdings as a
point of departure, Specters of Noon is infused throughout with a
Caribbean perspective that addresses the instability of
environmental and colonial politics; one work is a power
transformer damaged in Hurricane Maria that is half-sheathed in
bronze. Filled with stunning installation photography and
insightful texts both commissioned and reprinted, this volume
captures the spirit of Jennifer Allora (b. 1974) and Guillermo
Calzadilla's (b. 1971) deeply researched and multifaceted work.
Distributed for the Menil Collection Exhibition Schedule: Menil
Collection, Houston (September 26, 2020-June 20, 2021)
By the mid-1960s, New York's art establishment -- its major museums
and galleries -- had ceased to reflect the city's diversity and had
largely ignored the decade's social, political, and cultural
ferment. In response, marginalized artists created an oppositional
network of organizations, exhibit spaces, and cooperative galleries
that both paralleled and challenged the status quo. This
alternative art movement flourished for more than two decades,
repositioning New York at the center of international contemporary
art. Alternative Art New York brings together a diverse group of
artists and critics to explore the origins and evolution of this
diffuse and vibrant cultural scene from a variety of perspectives:
political, philosophical, organizational, economic, and aesthetic.
Locating the movement within both the art world and its larger
social and political context, these authors decipher the shifting
configurations of cultural power in this period and the complex
relationship between the mainstream and the marginal. With a
unique, annotated chronology of the alternative art scene from 1965
to 1985, and illustrated with 150 images of key works,
installations, and exhibits; reproductions of posters, communiques,
and other ephemera; and photographs of protests and meetings, this
volume is an important work of contemporary art history and a
valuable sourcebook that suggests the basis for the return of an
artist-driven cultural economy.
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