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Showing 1 - 8 of
8 matches in All Departments
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Zen Psychosis (Hardcover)
Shana Nys Dambrot; Contributions by Osceola Refetoff
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R1,284
Discovery Miles 12 840
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Ships in 12 - 17 working days
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Woods Davy - Sculptures
Suzanne Muchnic; Text written by Shana Nys Dambrot
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R1,173
Discovery Miles 11 730
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Ships in 12 - 17 working days
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This volume is the first monograph devoted to Woods Davy and
collects the works made by the artist from 1978 to the present,
highlighting their context, the stories connected to their
creation, and the artistic development to which they bear witness.
Woods’s growth is in fact marked by an evolution: his early
practice is characterised by bold architectural abstractions and
monumental installations, while his later work possesses a more
reflective character. These latter pieces are compositions of
smooth, rounded stones that appear to float in the air, defying
gravity. The publication also focuses on an in-depth analysis of
his Cantamar series. However, Woods’s work also draws upon ideas
derived from his passion for art collecting, in particular the
masks used by the Songye and Luba peoples that inhabit the south
eastern regions of the Democratic Republic of Congo. He in fact
owns what is certainly the most important private collection of
Kifwebe masks. The connection between these two poles around which
Woods’s life revolves is quite simple: in both there is a
negation of the natural order. On the one hand, stones float like
clouds, while on the other, men are transformed into a hybrid of
human, animal, and spirit.
The Fire of Heaven presents the work of Enrique Martínez Celaya in
conversation with the life and work of the influential
twentieth-century California poet Robinson Jeffers. Despite
existing in different lifetimes, Jeffers’ approach to life as art
and his reverence for the natural beauty of the California
coastline inextricably link the uncompromising poet to Celaya. The
artist’s multi-faceted practice explores the map of a territory
shaped by self, memory, ideations of home, exile, myth, and
identity. His practice presumes art should be an ethical effort
that aims to understand better and be engaged with the world and
ourselves. Beyond these threads of commonality, Celaya draws from
specific Jeffers’ writings, such as the 1928 poem The Summit
Redwood, which serves as the exhibition’s namesake and describes
“the fire from heaven” as a force untamed and ignited at whim.
Celaya’s work created during his stay at the poet’s landmark
home in Carmel-by-the-Sea is complemented by Jeffers’ handwritten
poems, notes, and photographs.
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