資料來源: Google Book
David Hammons :rousing the rubble
- 作者: Hammons, David,
- 其他作者: Institute for Contemporary Art (Long Island City, New York, N.Y.) , University of Pennsylvania. , San Diego Museum of Contemporary Art.
- 出版: New York :Cambridge, Mass. : Institute for Contemporary Art ;MIT Press c1991.
- 稽核項: 95 p. :ill. (some col.) ;29 cm.
- 標題: Exhibitions. , Hammons, David, 1943- Exhibitions. , Conceptual art , Conceptual art United States -- Exhibitions. , Hammons, David,
- ISBN: 0262031841 , 9780262031844
- 附註: Catalog of an exhibition held at the Institute for Contemporary Art, Dec. 16, 1990 - Feb. 10, 1991, the Institute of Contemporary Art, Pa., Mar. 15, 1991 - Apr. 28, 1991, and the San Diego Museum of Contemporary Art, Aug. 17, 1991 - Nov. 10, 1991. Includes bibliographical references.
- 系統號: 005111241
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Essays by Steve Cannon, Tom Finkelpearl, and Kellie Jones Photographs by Dawoud Bey and Bruce Talamon Rousing the Rubble celebrates two decades of work by artist David Hammons, who has risen to prominence while at the same time consciously ducking the attention of critics, galleries, and museums, preferring to "do things in the street." A recipient of both a MacArthur Foundation "genius" award and a Prix de Rome, Hammons places himself as an artist between Arte Povera and Marcel Duchamp. He makes his art from refuse and the detritus of African-American life: chicken wings, Thunderbird and Night Train bottles, clippings from dreadlocks, basketball hoops. Hammons's deeply felt political views on race and cultural stereotypes give his witty and elegant sculptures, installations, and body prints an integrity that promises to keep the focus on his art rather than on his career. Illustrated with nearly 100 photographs (both black and white and color), Rousing the Rubble covers the full range of Hammons's art and his methods of creating it. Steve Cannon's rap poem takes the reader on a freewheeling bicycle ride from Harlem to the Lower East Side in New York and is joyously infused with the same energies and inspirations as Hammons' work. Tom Finkelpearl discusses the power of the dirty, used objects Hammons prefers and how they relate to the clean" art exhibited in conventional gallery settings. And Kellie Jones examines how Hammons's art evolved from Los Angeles in the 1960s to New York and Rome in the present day.
來源: Google Book
來源: Google Book
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