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Barbara Hepworth is one of the most important artists of the 20th
century, yet she has been the subject of relatively few monographs
in comparison to her male counterparts. This biography moves beyond
the traditional narratives of modernism, truth to materials, and
the landscape to provide a penetrating insight into Hepworth’s
remarkable life, work and legacy. Barbara Hepworth was reproached
for single-mindedness in her lifetime, with critics and
commentators framing both the artist and her work as ‘cool and
restrained’. A continued focus on her modernist abstract
sculpture of the 1930s and its relation to her male contemporaries
has left vast swathes of her work and related passions overlooked.
This fully illustrated biography reflects for the first time
Hepworth’s multi-faceted, interdisciplinary and networked
approach, shedding light as never before on her interests in music,
dance, poetry, contemporary politics, science and technology; her
engagement with these fields through friends and networks as well
as her artistic practice; and the ways in which she synthesized
sometimes seemingly conflicting disciplines and ideas into one
coherent and inspirational philosophy of art and life. With 178
illustrations
Encountering the work of Alan Davie (1920-2014) at Wakefield Art
Gallery in 1958, a young David Hockney (b.1937) was struck by
Davie's landmark Abstract Expressionist paintings, which mirrored
and stimulated his own fledgling experimentation with colourful
abstraction. Juxtaposing the remarkable early work of two greats of
post-war painting, this book provides an original perspective on an
important aspect of two significant artistic careers. A richly
illustrated text demonstrates points of convergence - such as the
painterly surface, passion and poetry, and an exploration of text
within the pictorial frame - while also presenting divergence,
moving the discussion beyond comparison to reveal a moment when
each artist expanded the expressive potential of the painted
canvas. Seeking to suggest new relationships and continuities
between two generations previously segregated, this beautifully
produced publication is ambitious in its intention, pushing the
boundaries of traditional interpretations of British art history.
This mid-career retrospective volume focuses on Viviane Sassen's
fine art photography, revealing a surrealist undercurrent in her
work. Sassen recognizes Surrealism as one of her earliest artistic
influences, seen in the uncanny shadows, fragmented bodies, and
otherworldly landscapes she captures in her work. In addition to
images from the acclaimed series "Umbra," this volume draws from
the series "Flamboya," in which she returned to Kenya,
"Parasomnia," a dreamlike exploration of sleep, the "Roxane"
series, a mutual portrait created with her muse, Roxane Danset, "Of
Lotus and Mud," a study of procreation and fecundity, and "Pikin
Slee," a journey to a remote village in Suriname. This book
features a contextualizing essay and an insightful interview with
the artist. Throughout, Sassen emerges as a poetic photographer
obsessed with light and shadow and a brilliant technician, who is a
master of both vibrant color and muted hues. Selected by Sassen
herself from across the last ten years, the images draw on the
surrealist strategies of collage and unexpected juxtapositions to
give a survey of her practice.
Lee Miller (1907-1977) moved to London in the late 1930s, just as a
rich strand of Surrealist practice was burgeoning in Britain.
Miller was central to its development and prolonged life after
World War II, exhibiting alongside British Surrealists such as
Eileen Agar and Henry Moore in often overlooked London exhibitions.
This book is the first to present Lee Miller's photographs of, and
collaborations with key British Surrealists alongside their
artworks, to tell the story of this exciting cultural moment.
Miller's photographs of noted continental Surrealists such as Max
Ernst and E.L.T Mesens, taken while they were working and
exhibiting in Britain, also feature alongside their works,
documenting their enduring friendships with Miller and her husband,
the artist Roland Penrose. Miller's interdisciplinary photographic
practice acted as a conduit for the dispersal of Surrealist images
out of the realm of fine art and into the worlds of fashion,
commercial photography and journalism. A vital study for all
students and enthusiasts of Surrealism and those enthralled by the
enigmatic Lee Miller, this book reveals the social and cultural
networks in which she was embedded, offering a holistic view of her
work and the life of the Surrealist movement in Britain.
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