"Wandering through the fields of architecture, history, paleontology and museology, Peck reveals that contemporary sculpture and prehistoric fossil are both mysterious, gigantic simulacra touched by a multitude of unknown hands. Peck makes highly imaginative juxtapositions, combining imagination and intelligence."
Sculpture since 1945 Andrew Causey
Oxford University Press
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Since 1945 the modern revolution in sculpture has gathered pace, and sculpture has now ceased to be the fixed category it once was. In recent decades the modernist idea of sculpture across the UK, America, and Europe, has been challenged, and issues such as nationality and politics have been brought in to the arena of public discussion. In this ground-breaking account of the development of post-War sculpture Andrew Causey examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums. He explores the use of everyday objects and the importance of sculptural context, discussing figurative and non-figurative works, Anti-form, Minimalism, experimental form, Earth Art, landscape sculpture, installation, and Performance Art.
Sculpture Unlimited Eva Grubinger
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This reader - based on a symposium at the Department of Sculpture -Transmedial Space, University of Art and Design, Linz - poses profound questions about contemporary sculpture. With contributions by an international roster of artists, critics and curators, the texts look at expansions of the notion of sculpture - from Auguste Rodin to Rosalind Krauss and beyond - leading the viewer to think that the discipline has become defined by its near arbitrary malleability, since practically anything can be construed as sculpture. Yet interest in the history of sculpture seems to be experiencing a revival, including traditional techniques and production methods, which often appear appealing, even radical, in the age of the Internet and social media.
More often than not, a work of art is produced through a dialectic of action and reflection-a zooming into and out of the material at hand (be it physical or conceptual) that eventually arrives at a synthesis of the two drives. See It Again, Say It Again explores this process of reflection and research within the making of an art work.
When this book first appeared in 1982, it introduced readers to Robert Irwin, the Los Angeles artist "who one day got hooked on his own curiosity and decided to live it." Now expanded to include six additional chapters and twenty-four pages of color plates, Seeing Is Forgetting the Name of the Thing One Sees chronicles three decades of conversation between Lawrence Weschler and light and space master Irwin.
Seeing Rothko G. Phillips & T. Crow
Getty Research Institute
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Violent and serene, visceral and cerebral, mystical and transcendental ? Mark Rothko?s luminous canvases elicit a remarkable range of intense reactions. In a series of analytic, personal, and even poetic essays by contemporary scholars, Seeing Rothko explores the experience of standing before Rothko?s most compelling artistic creations
Part political disquisition, part travel journal, part self-exploration, Seek is a collection of essays and articles in which Denis Johnson essentially takes on the world. And not an obliging, easygoing world either; but rather one in which horror and beauty exist in such proximity that they might well be interchangeable. Where violence and poverty and moral transgression go unchecked, even unnoticed. A world of such wild, rocketing energy that, grasping it, anything at all is possible.
Seen, Written Klaus Kertess
Gregory R. Miller & Co.
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Curator and historian, gallerist and writer: Klaus Kertess has long been a decisive and forward-thinking presence in the art world. He founded the Bykert Gallery in 1966, where he represented artists including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea Rockburne; three decades later, he curated the 1995 Whitney Biennial, the follow-up to the famously political 1993 iteration. "What is being proposed here," he wrote in a catalogue essay for the 1995 exhibition, "is not a return to formalism but an art in which meaning is embedded in formal value. An acknowledgment of sensuousness is indispensable--whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn."