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Water Damaged DAVID HAMMONS BODY PRINTS 1968-1979 book Drawing Papers 144
USD29,99
Aproximadamente25,92 EUR
Estado:
Aceptable
Libro con un desgaste evidente. La tapa puede tener algunos desperfectos, pero el libro está entero. La encuadernación puede estar ligeramente deteriorada, pero mantiene su integridad. Es posible que tenga anotaciones en los márgenes, texto subrayado o resaltado, pero conserva todas las páginas y no tiene ningún desperfecto que dificulte su lectura o comprensión. Consulta el anuncio del vendedor para obtener más información y la descripción de cualquier posible imperfección.
- ¡Cómpralo ya!Water Damaged DAVID HAMMONS BODY PRINTS 1968-1979 book Drawing Papers 144
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Envío:
Gratis USPS Media MailTM.
Ubicado en: Los Angeles, California, Estados Unidos
Entrega:
Entrega prevista entre el jue. 16 oct. y el sáb. 18 oct. a 94104
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N.º de artículo de eBay:277335460724
Características del artículo
- Estado
- ISBN-13
- 9780942324419
- ISBN
- 9780942324419
Acerca de este producto
Product Identifiers
Publisher
Drawing Center
ISBN-10
0942324412
ISBN-13
9780942324419
eBay Product ID (ePID)
3050086404
Product Key Features
Book Title
David Hammons: Body Prints, 1968 1979
Number of Pages
144 Pages
Language
English
Topic
Individual Artists / Monographs, General
Publication Year
2021
Illustrator
Yes
Genre
Art
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
10.4 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
Photographed by
Talamon, Bruce W.
Synopsis
On Hammons' seminal series that ingeniously merged print and performance, celebration and critique The first book dedicated to these pivotal early works on paper, David Hammons: Body Prints, 1968 1979 brings together the monoprints and collages in which the artist used the body as both a drawing tool and printing plate to explore performative, unconventional forms of image-making. Hammons created the body prints by greasing his own body or that of another person with substances including margarine and baby oil, pressing or rolling body parts against paper, and sprinkling the surface with charcoal and powdered pigment. The resulting impressions are intimately direct indexes of faces, skin and hair that exist somewhere between spectral portraits and physical traces. Hammons body prints represent the origin of his artistic language, one that has developed over a long and continuing career and that emphasizes both the artifacts and subjects of contemporary Black life in the United States. More than a half century after they were made, these early works on paper exemplify Hammons celebration of the sacredness of objects touched or made by the Black body, and his biting critique of racial oppression. The body prints highlighted in this volume introduce the major themes of a 50-year career that has become central to the history of postwar American art. The book features a conversation between curator and activist Linda Goode Bryant and artist Senga Nengudi, as well as a photo essay by photographer Bruce W. Talamon, who documented Hammons at work in his Los Angeles studio in 1974. Born in 1943 in Springfield, Illinois, David Hammons moved to Los Angeles in 1963 at the age of 20 and began making his body prints several years later. He studied at Otis Art Institute with Charles White and became part of a younger generation of Black avant-garde artists loosely associated with the Black Arts Movement. He moved to New York in 1978., On Hammons' seminal series that ingeniously merged print and performance, celebration and critique The first book dedicated to these pivotal early works on paper, David Hammons: Body Prints, 1968-1979 brings together the monoprints and collages in which the artist used the body as both a drawing tool and printing plate to explore performative, unconventional forms of image-making. Hammons created the body prints by greasing his own body--or that of another person--with substances including margarine and baby oil, pressing or rolling body parts against paper, and sprinkling the surface with charcoal and powdered pigment. The resulting impressions are intimately direct indexes of faces, skin and hair that exist somewhere between spectral portraits and physical traces. Hammons' body prints represent the origin of his artistic language, one that has developed over a long and continuing career and that emphasizes both the artifacts and subjects of contemporary Black life in the United States. More than a half century after they were made, these early works on paper exemplify Hammons' celebration of the sacredness of objects touched or made by the Black body, and his biting critique of racial oppression. The body prints highlighted in this volume introduce the major themes of a 50-year career that has become central to the history of postwar American art. The book features a conversation between curator and activist Linda Goode Bryant and artist Senga Nengudi, as well as a photo essay by photographer Bruce W. Talamon, who documented Hammons at work in his Los Angeles studio in 1974. Born in 1943 in Springfield, Illinois, David Hammons moved to Los Angeles in 1963 at the age of 20 and began making his body prints several years later. He studied at Otis Art Institute with Charles White and became part of a younger generation of Black avant-garde artists loosely associated with the Black Arts Movement. He moved to New York in 1978.
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