Au plus fort du postmodernisme, alors que le monde numérique devenait une réalité, Peter Halley revitalise la peinture en associant son travail à la sociologie et à la science-fiction. En utilisant des supports commerciaux discrets - des couleurs fluorescentes et du Roll-A-Tex, un additif utilisé pour recouvrir des immeubles de banlieue - il a démystifié les connotations artistiques de la peinture. Déconstruisant l'abstraction géométrique du début et du milieu du XXe siècle, il a tranformé ses rectangles en structures qu'il a qualifiées de « cellules » et de « prisons ». Il les a ensuite reliés par des lignes droites, ou « conduits », pour accéder de manière imaginative aux forces extérieures. Cette monographie de Robert Hobbs analyse l'art géométrique de Halley par rapport aux opportunités offertes par Internet, aux possibilités esthétiques offertes par Photoshop, à la déconstruction de Jacques Derrida, aux théories sociologiques de Michel Foucault et de Jean Baudrillard et aux énigmes présentées à la fois par la science-fiction et la physique.
Themes and motifs in the art of Kara Walker, from blackface to abjection, by a leading art historian.
In 2002, Kara Walker was selected to represent the United States at the prestigious São Paulo Art Biennial. Curator Robert Hobbs wrote extended essays on her work for this exhibition, and also for her show later that year at the Kunstverein Hannover. Because these essays have not been distributed in the US and remain among the most in-depth and essential investigations of her work, Karma is now republishing them in this new clothbound volume.
Among the most celebrated artists of the past three decades, with over 93 solo exhibitions to her credit, including a major survey at the Whitney Museum of American Art, Walker is known for her tough, critical, provocative and highly imaginative representations of African Americans and whites reaching back to antebellum times. In his analysis, Hobbs looks at the five main sources of her art: blackface Americana, Harlequin romances, Julia Kristeva's concept of abjection, Stone Mountain's racist tourist attraction and the minstrel tradition.
Robert Hobbs (born 1946) has written more than 50 books and catalogs, focusing on such artists as Milton Avery, Alice Aycock, Lee Krasner, Robert Smithson and Kehinde Wiley. Since 1991 he has held the Rhoda Thalhimer Endowed Chair of American Art in the School of Arts, Virginia Commonwealth University. Since 2004 he has served as a visiting professor at Yale University.
Now based in New York, Kara Walker was born in Stockton, California, in 1969. She received her MFA from the Rhode Island School of Design in 1994; soon afterward, Walker rose to prominence for her large, provocative silhouettes installed directly onto the walls of exhibition spaces.
The first in-depth survey of the life and work of one of America's most celebrated contemporary artists.
Jim Hodges is an artist who addresses issues such as memory, love, and existential struggles through a multifaceted practice that includes photography, screen printing, and sculpture. His use of found materials like rocks and denim, coupled with the adoption of transitory shapes like spiderwebs, speaks of a personal experience that resonates on a collective level filtered through elements available in nature. Mysterious, beautiful, poetic, and conceptually deep, Hodges's work has the rare quality of being simultaneously thoughtprovoking and visually beautiful.
This comprehensive catalogue was published on the occasion of New York-based artist Kelley Walker's (born 1969) solo exhibition at the Paula Cooper Gallery in 2014. The catalogue begins with an essay by noted art historian Robert Hobbs, which examines the technical and conceptual scope of Walker's art. Hobbs finds parallels between Walker's work and that of Robert Rauschenberg and Symbolist poet Stéphane Mallarmé. The publication also includes 233 superb full-color reproductions which highlight the sharp digital imagery of Walker's multipanel works, the layered polychrome hues of his silkscreens and the complex spatial play at work in his sculpture. Ten foldout spreads spanning 40 pages give the reader a sense of the expansive dimensions of his multipanel silkscreen pieces, the first of which is comprised of 196 parts.
On the occasion of the ninetieth birthday of Beverly Pepper, an illustrated biography of her lifes work. Beverly Pepper has spent her lifetime at the forefront of monumental sculpture worldwide. From her first twenty-foot sculpture in Spoleto in 1962 to her four forty-foot columns in the Federal Plaza, New York, her work ranges in varying scales across three continents many collected here for the first time. As a pioneer in the use of diverse industrial metals, she was among the first artists to work in Cor-ten steel (1965), as well as casting sculpture in ductile iron. Her intuitive creativity and signal energy expanded the language of modern sculpture, invigorating its capacity to address collective experiences and diverse concepts. In exploring new materials with original insights, she has a distinguished place in the history of twentieth-century art.
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