New Books

Maria Magdalena Campos-Pons: Everything is Separated by Water ( M Campo .C355 A4 2007 ) You can see the site for the show here. With essays by curator Lisa Freiman and Okwui Enwezor, Dean of Academic Affairs at the San Francisco Art Institute and past Artistic Director of Documenta XI, Kassel, Germany, 2002, the catalogue traces the formal and conceptual transformation of Campos-Pons’ work in relation to contemporary aesthetic practices and serves as a resource for specialists in the field of contemporary, African Diasporic, Caribbean, and African American art and culture. The hardcover catalogue is 184 pages in length and features 58 color and 7 black-and-white illustrations.

Glenn Brown ( M BrownG .B732 A4 2002 )  “I am a little bit like Doctor Frankenstein because I create my pictures with the remains and dead parts of other artists’ works.” So says the rising London painter, Glenn Brown, while essayist Tom Morton likens Brown’s canvases to a zombie comedy. Thus, “Theater” is a half-length portrait of a skeleton whose bones resemble a slimy organic mass of meat, paste and raspberry ice cream, while the sad mutant heads in “Asylums of Mars” and “The Hinterland” look as if they were bred in a mad geneticist’s laboratory. In this monograph, six recent works are presented on deluxe tipped-in color plates, each accompanied by a detail that reveals Brown’s technique: the artist fills his grounds with flowing whirlpools of shifting colors–but what initially look like thick brushstrokes are revealed upon closer examination to be very thin layers of paint that could almost be mistaken for photographs or digitally manipulated prints.”

Rosalyn Drexler (M Drexl .D72 A4 2007) first exhibited with The Pace Gallery in a group show in Boston in 1964. The following year she was included, along with Roy Lichtenstein, Andy Warhol, Tom Wesselmann and others, in the First International Girlie Exhibit, a survey of the influence of the “pinup girl” on contemporary art at the recently opened Pace Gallery in New York. I am the Beautiful Stranger reexamines the distinct contributions Drexler made as the Pop Art Movement was coalescing. As early as 1960, Drexler was using the icons of Pop Culture as the organizing subject matter of her work. Images of gangster B-movies, tabloid journalism, and pulp detective novels were collaged directly onto the canvases and then entirely “re-painted” to create the kind of graphically transformed and narratively intensified work associated with the great pioneers of art in the early sixties. Drexler went on to hone her technique to powerfully expose society’s raw nerves in her emotionally charged, ambiguous scenes of sex, violence and the isolation of man in the 20th century.

Jim Dine: Pinocchio ( M Dine .D5 A4 2007x ) features 17 enamel on wood, charred wood, stained wood, and cast aluminum Pinocchio sculptures, as well as one work on paper. The story of Pinocchio written by Carlo Collodi, an author and journalist, first appeared in 1881 as a serial in an Italian newspaper. The Adventures of Pinocchio: Story of a Puppet became a book in 1883 and the celebrated Walt Disney film version premiered in 1941. Since he was six years old and saw the Disney adaptation, Dine has been fascinated with the subject. A little more than twenty years later the artist bought a figurine of the puppet and he has continually explored the subject in the decades since through photographs, drawing, sculpture, and painting. Jim Dine: Pinocchio is a culmination of this investigation. The new work represents Dine’s most physical exploration of the subject and perhaps his most radical treatment of material in a series.

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