You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
This collection contains ephemera, notes, drafts, correspondence, and press pertaining to the MCA exhibition Lee Bontecou.
The first survey of more than fifty years of drawing by a legendary sculptor and draftswoman Lee Bontecou (b. 1931) established a significant reputation in the 1960s with pioneering sculptures and reliefs made of raw and expressionistic materials. Her art is simultaneously organic and mechanical, and infused with biological, geological, and technological motifs. These same qualities also animate a less-known but compelling body of work: her drawings. Ranging from her early soot on paper works created using powder from a welding torch to recent drawings in pencil and colored pencil that evoke cosmoses and microcosmic worlds, this stunning book is the first retrospective survey of Bontecou's c...
Since the 1960s, American artist Lee Bontecou has been internationally praised for her intriguing sculptures and installations. The rich, organic shapes of her sculptures seem to originate from a mysterious universe in which man's fears and desires are condensed. Recently the artist created Sandbox, a new installation in which she combines elements from her work from the 1960s to the present. A picture essay by Joan Banach, artist and friend of Bontecou, focuses on the genesis of Sandbox and maps the rich network of Bontecou's inspirations: pictures range from extracts from geological and historical books to images of works by old masters. The beautiful, detailed photographs were taken at the artist's studio. This publication also shows Bontecou's sketchbooks and the inspirational ?wall of drawings? in her studio. It is an intimate insight into the creative process of the artist. Published on the occasion of the exhibition at Gemeentemuseum Den Haag, The Hague, Netherlands, 25 February - 2 July 2017.
Text by Elisabeth Sussman.
None
Lee Bontecou became widely known early in the 1960s for her welded steel sculptures into which various fabrics, metals and found objects were incorporated. This monograph is a major survey of Bontecou's work and provides an opportunity to re-evaluate the career of the artist.
None
In America during the 1960s, sculpture as an artistic practice underwent a series of radical transformations. Artists including Lee Bontecou, Claes Oldenburg, Lucas Samaras, H. C. Westermann, and Bruce Nauman offered alternative ways of imagining the three-dimensional object. The objects they created were variously described as erotic, soft, figurative, aggressive, bodily, or, in the words of the critic Lucy Lippard, "eccentric." Looking beyond the familiar and canonic artworks of the 1960s, the book challenges not only how we think about these artists, but how we learn to look at the more familiar narratives of 1960s sculpture, such as Pop and Minimalism. Ambivalent and disruptive, the work of this decade articulated a radical renegotiation—rejection, even—of contemporary paradigms of sculptural practice. This invigorating study explores that shift and the ways in which the kinds of work made in this period defied established categories and questioned the criteria for thinking about sculpture.
None
Half theWorld traces the ways in which women artists deftly transformed the language of sculpture to invent radically new forms and processes that privileged studio practice, tactility and the artist's hand. The volume seeks to identify the multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of the masterwork and rearranged sculptural form to be contingent upon the way the body moved around it in space. The catalogue begins in the immediate post-war era, with the first section spanning the late 1950s through the 1950s. Featuring historically important predecessors including Ruth Asawa, Lee Bontecou, Louise Bourgeois, Clair...