CONTEMPORARY ART MOVEMENTS

PUBLISHER

BOOK FORMAT
Hardcover, 10.5 x 10 in. / 424 pgs / 249 color / 252 bw.

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D.A.P. Exclusive
Catalog: FALL 2011 p. 44   

PRODUCT DETAILS
ISBN 9781427613745 TRADE
List Price: $65.00 CDN $87.00

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"This compelling book about the city’s Black Arts Movement fills an astonishing gap... [it] provides indisputable grounds for a gritty, more engaged, and influential history of that moment."
Kim Levin, ARTnews, Summer 2012 issue.

  

L.A. Object & David Hammons Body Prints

Edited by Connie Rogers Tilton, Lindsay Charlwood. Text by Steve Cannon, Dale Davis, Josine Ianco-Starrels, Kellie Jones, Yael Lipschutz, John Outterbridge, Greg Pitts, Betye Saar, Tobias Wofford.

Featured image is <i>Boy With Flag</i>, a 1968 body print by David Hammons. L.A. Object offers a historical overview of the Los Angeles assemblage movement of the 1960s and 70s. It focuses on works by primarily African-American artists often omitted from mainstream gallery and museum historical exhibitions who were working during the civil rights movement, the 1965 Watts riots and the era's general social and cultural upheaval: Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson, Mel Edwards, David Hammons, Daniel La Rue Johnson, Ed Kienholz, Ron Miyashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, Betye Saar, Kenzi Shiokava and Timothy Washington. Central to this book are the unique body prints of David Hammons--ironic, often political commentaries relevant to the African-American experience that are presented for the first time within the context from which they arose. Also included are photographic contributions by Bruce Talamon and Harry Drinkwater.

Featured image is Boy With Flag, a 1968 body print by David Hammons.

PRAISE AND REVIEWS

New York Observer

Andrew Russeth

The book is a beauty... There is, throughout Ms. Jones’s essay and the book as a whole, voluminous documentation of work by major artists who still rarely figure in most histories of American postwar art, like Betye Saar, who made intricate figurative drawings on covered glass windows; Senga Nengundi, who was conjuring unusual forms from sand and pantyhose before Ernesto Neto was even a teenager; and John Outterbridge, whose multifarious assemblages took on a gamut of styles. Also here are John Riddle, George Herms, Greg Pitts, Daniel LaRue Johnson, Joe Ray and Timothy Washington, to name a few more.

Angeleno Magazine

Lara Bonner

"…L.A.'s long-neglected inner-city-based assemblage movement of the '60s and '70s finally gets its hefty-hardcover due in L.A. Object & David Hammons Body Prints. The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Kienholz created lasting works out of the era's defining racial tension and urban desolation."

Library Journal

Jonathan Patkowski

A sprawling and ambitious book, this title examines the work of David Hammons, Noah Purifoy, and other black Los Angeles-based artists who worked with found objects in the 1960s and 1970s. Although these artists have been largely written out of received art historical narratives on the basis both of their ethnicity and their geography, this book makes a forceful case for their importance.

The Wall Street Journal

John Outterbridge

L.A. Object & David Hammons Body Prints is the most thorough examination to date of Hammons's early work and features installation shots, ephemera, and many never-before-published photographs of Hammons in the studio….It's an incredibly impressive book…

ARTnews

Kim Levin

"This compelling book about the city's Black Arts Movemnt fills an astonishing gap"

L.A. Object & David Hammons Body Prints

in stock  $65.00


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FROM THE BOOK
"In Los Angeles, Hammons first produced his well-received body prints, a format for which his early years as an artist are best known. To create these works, Hammons literally used his own body as a printing plate—coating his skin or the printing paper with margarine and then pressing his greased body onto the printing paper. Powdered pigment was then sprinkled onto these stains, which clung to the areas sticky with grease, thus revealing thee body's impression. The image was subsequently fixed with a fixative and sometimes embellished with silkscreened, drawn, or collaged elements. This method produced images that record the textures of skin, hair and textiles in surprising detail."

—Tobias Wofford, excerpted from the chapter, Signifying Race in David Hammons' Spade Sereis.

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/15/2011

L.A. Object Reviewed in The New York Observer

L.A. Object Reviewed in The New York Observer

In today's New York Observer, Andrew Russeth calls L.A. Object & David Hammons Body Prints, "a magisterial new volume on African-American artists in Los Angeles." He rightfully describes this 424-page, fully illustrated but scholarly volume as both a "beauty" and a "deeply unsettling read." Below is an excerpt of Russeth's glowing review:

continue to blog


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