This richly illustrated book presents the first comprehensive overview of Chase-Ribound's 30-year career as a sculptor & draftsman. Distinguished art historians Peter Selz & Anthony F. Janson show how history, archaeology, spiritualism, the Baroque tradition, & Chase-Riboud's parallel career as a poet-novelist have influenced her work, from the Malcolm X, Tantra, Zanzibar, & Cleopatra series to her recent monument "Africa Rising."
"Accompanying the largest monographic exhibition of trailblazing artist Barbara Chase-Riboud's (b. 1939, Philadelphia) work to date, Barbara Chase-Riboud Monumentale: The Bronzes traces the full output of the artist's remarkable career from the 1950s to the present. The catalogue features both celebrated and never-before-seen artworks, highlighting the artist's groundbreaking role in the field of contemporary sculpture. In addition to some fifty sculptures, the book presents twenty works on paper, as well as a selection of Chase-Riboud's internationally acclaimed poetry. It also includes excerpts from an interview with the artist conducted for the Archives of American Art at the Smithsonian Institution. The catalogue offers a careful consideration of the many diverse aspects of the artist's practice, and in doing so, it provides unprecedented insights into her meditations on form, memory, and monument, while revealing a rich array of global art-historical and literary points of inspiration"--
Catalogue of an exhibition at Philadelphia Museum of Art, held September 14, 2013 - January 20, 2014 and the University of California, Berkeley Art Museum and Pacific Film Archive, February 12 - April 27, 2014.
Countering conventional accounts of art history, which have often overlooked the artistic contributions of women of color, the exhibition "Out of Easy Reach" presents the work of twenty-four US-based, female-identifying artists from the black and Latina diasporas. The exhibition proposes myriad ways that artists are employing abstraction as a tool to explore histories both personal and universal, with focuses on mapping, migration, archives, landscape, vernacular culture, language, and the body. This catalog--which accompanies an exhibition opening in April 2018 at the DePaul Art Museum, Gallery 400 at the University of Illinois at Chicago, and Stony Island Arts Bank--includes full-color plates of the works on view; commissioned essays by exhibition curator Allison Glenn, and Cameron Shaw, executive director and founding editor of Pelican Bomb; and short-form contributions about each artist featured in the exhibition written by invited scholars, curators, writers, and artists.
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, Claire Falkenstein and Louise Nevelson, this section examines abstraction based on the human figure and the influence of the unconscious. The second section covers the decades of the 1960s and 1970s, and includes Magdalena Abakanowicz, Lynda Benglis, Heidi Bucher, Gego, François Grossen, Eva Hesse, Sheila Hicks, Marisa Merz, Mira Schendel, Michelle Stuart, Hannah Wilke, and Jackie Winsor, a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods. In the 1980s and 1990s, the period explored in the third section, artists Phyllida Barlow, Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Senga Nengudi, and Ursula von Rydingsvard moved beyond singular, three-dimensional objects toward architectonic works characterized by repetition, structure, and design. The final section is comprised of post-2000 works by artists Karla Black, Abigail DeVille, Sonia Gomes, Rachel Khedoori, Lara Schnitger, Shinique Smith, and Jessica Stockholder, artists who create installation-based environments, embracing domestic materials and craft as an embedded discourse.
Magnetic fields, an introduction / Erin Dziedzic and Melissa Messina -- Black, woman, abstract artist / Lowery Stokes Sims -- Conversations. Lauren Haynes on Mavis Pusey -- Sandra Jackson-Dumont on Maren Hassinger -- Melissa Messina on Chakaia Booker -- Kathryn Wat on Lilian Thomas Burwell -- Alice Thorson on Sylvia Snowden -- Kindred : materializing representation in the abstract / Valerie Cassel Oliver -- Conversations. Erin Dziedzic on Nannette Carter -- Nanette Carter on Evangeline "EJ" Montgomery -- Allison Glenn on Candida Alvarez -- Michelle Perron on Gilda Snowden -- Gia M. Hamilton on Deborah Dancy -- For women of color who have considered art in which abstraction is enough / Lilly Wei
New Perspectives is the companion volume to the acclaimed Sourcebook, both of which accompany the Brooklyn Museum's exhibition We Wanted a Revolution: Black Radical Women, 1965-1985. New Perspectives includes new essays that place the exhibition's works in historical and contemporary contexts, poems by Alice Walker, and numerous illustrations.
