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In 1960, Eva Hesse created an unusual group of oil paintings that foretell her desire to embody emotional states in abstract form. This book seeks to consider these 'spectre' paintings as manifestations of a private, haunted interiority in the context of the artist's burgeoning maturity.
Issued in connection with an exhibition held Sept. 25, 2010-Jan. 3, 2011, Hammer Museum, Los Angeles, Jan. 28-May 22, 2011, University of New Mexico Art Museum, Albuquerque, and Sept. 16, 2011-Jan. 8, 2012, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York.
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
Eva Hesse’s later works are fascinating—not least because of her unusual materials Eva Hesse (1936–1970) is one of the foremost artists of the twentieth century. Born in Hamburg, she immigrated to New York via the Netherlands in 1938. Even though Hesse died of a brain tumor at the age of just thirty-four, she left behind a fascinating, highly individual body of work. In the mid-sixties she began experimenting with new materials that had never before been used to produce art objects, such as polyester, fiberglass, and latex. Hesse’s sculptures, which are now included in the collections of major museums around the world, are unique combinations of complex and occasionally contradictory qualities, such as hard and soft, fragile and substantial, abstract and figuratively evocative. This lavishly illustrated book concentrates on sculptures and drawings from the years 1966 to 1970, the last phase of the American artist’s work. -- Publisher’s description.
Cet ouvrage examine l'amitié et l'échange significatif d'idées entre Eva Hesse et Sol LeWitt à New York pendant les années 1960. Ce livre examine les percées des carrières entrelacées des artistes, offrant une nouvelle compréhension de l'art minimal, post-minimal et conceptuel parmi les bouleversements politiques et sociaux de l'époque.
The long-awaited publication of the personal diaries of pioneering American artist Eva Hesse Eva Hesse (1936-1970) is known for her sculptures that made innovative use of industrial and everyday materials. Her diaries and journals, which she kept for the entirety of her life, convey her anxieties, her feelings about family and friends, her quest to be an artist, and the complexities of living in the world. Hesse's biography is well known: her family fled Nazi Germany, her mother committed suicide when Hesse was ten years old, her marriage ended in divorce, and she died at the age of thirty-four from a brain tumor. The diaries featured in this publication begin in 1955 and describe Hesse's time at Yale University, followed by a sojourn in Germany with her husband, Tom Doyle, and her return to New York and a circle of friends that included Sol LeWitt, Mel Bochner, Lucy Lippard, Robert Mangold and Sylvia Plimack Mangold, Robert Ryman, Mike Todd, and Paul Thek. Poignant, personal, and full of emotion, these diaries convey Hesse's struggle with the quotidian while striving to become an artist.
The great, influential cultural critic, Elisabeth Bronfen, sets out in this book a conversation between literature, cinema and visual culture. The crossmappings facilitated in and between these essays address the cultural survival of image formulas involving portraiture and the uncanny relation between the body and its visual representability, the gendering of war, death and the fragility of life, as well as sovereignty and political power. Each chapter tracks transformations that occur as aesthetic figurations travel from one historical moment to another, but also from one medium to another. Many prominent artists are discussed during these journeys into the cultural imaginary, include Degas, Francesca Woodman, Cindy Sherman, Paul McCarthy, Eva Hesse, Louise Bourgeois, Wagner, Picasso, and Shakespeare, as well as classic Hollywood's film noir and melodrama and the TV series, The Wire and House of Cards.
This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.
Rachel Kneebone by Rachel Kneebone,Ali Smith,Catherine Morris Pdf
Rachel Kneebone (born 1973, Oxfordshire) is a London-based artist internationally renowned for her porcelain sculptures that intricately fuse human, natural, and abstract forms in ways that are simultaneously serene and cacophonous, beautiful yet grotesque, otherworldly yet full of humanity. Exploring themes such as sexual desire, mortality, anguish, and despair, Kneebone''s sculptures are contemporary visions of eternal truths, conveyed with endless imagination and impressive artistry in equal measure. Launched in anticipation of ''399 Days'', Kneebone''s latest presentation at White Cube, London, in summer 2014, this publication features works of art and installation documentation from the artist''s acclaimed solo exhibition at Brooklyn Museum in 2012, which included eight of the artist''s works in dialogue with fifteen bronze sculptures by Auguste Rodin that she selected from the museum''s collection. Curated by Catherine Morris, curator at the Elizabeth A. Sackler Center for Feminist Art at Brooklyn Museum, the exhibition was Kneebone''s debut museum show, highlighting the two artists'' shared interest in the representation of mourning, ecstasy, death, and vitality in figurative sculpture as well as offering an illuminating comparison of the artists'' materials and working processes. Featuring a foreword by Catherine Morris and a text by Ali Smith, the publication is lavishly illustrated by photographs of the works by Stephen White and installation photography by Jon Lowe. The centerpiece of the exhibition and a focal point of the publication is a work entitled ''The Descent'' (2008), which at the time of the Brooklyn Museum show was Kneebone''s largest work to date. In part inspired by Dante''s ''Divine Comedy'' and with engaging connections to Rodin''s iconic set of bronze doors ''The Gates of Hell'' - itself inspired by Dante''s ''Inferno'' - Kneebone''s white porcelain sculpture depicts myriad small mutant figures standing in a circle on the rim of a strange orifice-like pit, as if staring into hell itself, teeming with wretched limbs on the slopes below. With references ranging from Bataille to Cormac McCarthy, this apocalyptic vision of humanity and its ungodly demise captures souls condemned to eternal damnation in a sculpture that is as affecting as it is unforgettable. Other sculptures by Kneebone included in the publication include ''For Beauty''s nothing but beginning of Terror we''re still just able to bear'' (2011), which takes the form of a two-tier configuration of human limbs, evocative of classical myths and a history of aberrations, metamorphoses, and carbon-based chimera; ''Still Life Triptych'' (2011), which presents the viewer with three tomb-like plinths enshrouded by mysterious spheres and various bodily appendages; and ''Eyes that look close at wounds themselves are wounded'' (2010), which renders a pitiable naked female form transmogrified through her evident anguish into an almost abstract pile of flesh, bones, and organs. Beautiful, disturbing, remarkable - the gleaming white porcelain surfaces of Kneebone''s exquisite sculptures belie their dark, despairing iconography, unleashing an orgiastic nightmare of elegant depravity and classical desolation. ''Am I the only person who sees past the dark, the classical desolation that critics like to see in Kneebone''s work?'' asks Ali Smith in her dynamic and thought-provoking text, which takes us from Apollo to Lacan on a mind-expanding journey that starts by skinning satyrs alive and ends by proclaiming the life force that can be found even in prehistory''s primordial slime. Designed by Herman Lelie and Stefania Bonelli, this beautifully produced hardback publication - which contains over fifty color reproductions and has been developed with support from Brooklyn Museum - will undoubtedly leave many readers as intrigued and impressed as they are bemused and unsettled. Having undertaken a BA at UWE, Bristol, Rachel Kneebone graduated with an MA from the Royal College of Art, London, in 2004. She is represented by White Cube, London, with whom she has had a number of solo exhibitions, and has also taken part in group shows including ''The Library of Babel'' at the Zabludowicz Collection, London (2010), ''The Beauty of Distance'' at the 17th Biennale of Sydney (2010), ''The Surreal House'' at the Barbican, London (2010), ''Living in Evolution ''at the Busan Biennale (2010), and ''The Best of Times, The Worst of Times'' at the 1st Kiev Biennale (2012).
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real—to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-gard, it concludes with an original reading of this contemporary situation—and what it portends for future practices of art and theory, culture and politics.
Summary: This absorbing and original study examines the extraordinary surreal art of Bruegel the Elder in terms of the visual culture of carnivals and dreams. This is also the first study of the origins of nightmare imagery in art and culture. The book explains how the culture of carnivals and dreams converged during the Renaissance, and why this revolutionised the nature of public and private fantasy. Using Bruegel as a case-study, Milne brings together a great range of new and fascinating sources, drawing on philosophy, mysticism and folk culture, as well as art and imaginative literature. Milne guides us through the genesis of the modern nightmare in Bruegel's art and culture. The result is a ground-breaking contribution to visual and psychological history, and an illuminating account of Bruegel's most enigmatic and disturbing works.
Wonders and the Order of Nature 1150–1750 by Lorraine Daston,Katharine Park Pdf
Discusses how European scientists from the High Middle Ages through the Enlightenment used wonders, monsters, curiosities, marvels, and other phenomena to envision the natural world.
