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Jose Dávila (Hardcover)
Jeffrey Grove, Sean Kelly Gallery, New York; Text written by Pedro Alonzo, Louisa Edgerton, Frauke V. Josenhans, …
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R1,401
Discovery Miles 14 010
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Ships in 12 - 17 working days
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In a practice spanning nearly two decades, Jose Dávila has created
an expressive body of work that explores the visual tropes and
iconic symbols of art, architecture, and urban design. Initially
trained as an architect and self-educated as a visual artist,
Dávila creates sculptures, installations and photographic works
that simultaneously emulate, critique, and pay homage to
20th-century avant-garde art and architecture, referencing artists
and architects from Luis Barragán to Josef Albers and Donald Judd.
Humor and melancholy co-mingle in works that often explore the
tension between industrial and organic materials and the forces of
compression and balance. This monograph assesses the full scope of
Dávila’s practice in all media for the first time, and includes
texts attesting to the historical and social dimensions of
Dávila’s art. Essays address the artist’s early pieces, his
exercises on balance, sculpture, graphics and paintings, and his
works in public space.
This pioneering book, the first monograph devoted to Donald Judd,
addresses the whole breadth of Judd's practices. Drawing on
documents found in nearly twenty archives, David Raskin explains
why some of Judd's works of art seem startlingly ephemeral while
others remain insistently physical. In the process of answering
this previously perplexing question, Raskin traces Judd's
principles from his beginnings as an art critic through his
fabulous installations and designs in Marfa, Texas. He discusses
Judd's early important paintings and idiosyncratic red objects, as
well as the three-dimensional works that are celebrated throughout
the world. He also examines Judd's commitment to empirical values
and his political activism, and concludes by considering the
importance of Judd's example for recent art. Ultimately, Raskin
develops a picture of Judd as never before seen: he shows us an
artist who asserted his individuality with spare designs; who found
spiritual values in plywood, Plexiglas, and industrial production;
who refused to distinguish between thinking and feeling while
asserting that science marked the limits of knowledge; who claimed
that his art provided intuitions of morality but not a specific set
of tenets; and who worked for political causes that were neither
left nor right.
Idol Structures accompanies an exhibition at the DePaul Art Museum
of recent photographs and sculptures by Chicago-based artist Matt
Siber, whose work explores the systems of corporate and mass-media
communication that permeate the urban landscape. Instead of
focusing on the information itself, Siber emphasizes the physical
infrastructure of these systems. Photographs of the narrow edges of
signs, sculptures of billboard ads hanging so loosely that their
text is obscured in the folds, and other unique treatments of
promotional materials distort and subvert the intended messages.
The artist's deconstruction of such commercial efforts reveals an
element of communication meant to remain invisible and subservient
to image, text, and graphics. By highlighting the everyday objects
used to persuade and influence, Siber's art undermines these
communication systems' ability to do precisely what they were
intended to do.
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