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Clth, 9.5 x 11 in. / 96 pgs / 110 color. PUBLISHING STATUS
Pub Date 8/30/2022
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Catalog: SPRING 2022 p. 129 PRODUCT DETAILS
ISBN 9781733688956 TRADE
List Price: $35.00 CDN $47.00 GBP £28.00 AVAILABILITY
In stock | TERRITORY
WORLD | EXHIBITION SCHEDULELong Island City, NY
SculptureCenter, 01/20/22–03/28/22
Minneapolis, MN
Walker Art Center, 04/30/22–09/04/22 | | THE SPRING 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | Liz Larner: Don’t Put It Back Like It WasEdited by Karen Kelly, Barbara Schroeder. Text by Connie Butler, Ariana Reines, Catherine Liu. Conversation by Mary Ceruti.
 A long-overdue appreciation of the influential sculpture of Liz Larner and its radically adventurous formal and conceptual vocabularyLos Angeles–based sculptor and installation artist Liz Larner (born 1960) was originally a photographer: in some of her earliest projects, she documented the volatility of bacterial cultures in petri dishes. However, she soon realized that she was more compelled by the dishes themselves and how they presented questions about what an art object can entail. Since then, she has continued to pursue her interest in formal unpredictability through a focus on sculpture and architectural space. Composed of a diverse variety of materials, her sculptures frequently function as optical illusions that seem to bend the space around them. Sometimes rigidly technical in their geometry and at other times soft-edged and amorphous, Larner’s sculptures are striking both for their fluctuation of form and for their representation of spatial politics.
Repositioning her enduring formal and material concerns alongside her relationship to a feminist sculptural position, this monograph offers an opportunity to consider Larner’s artistic project within today’s expanded discourses of embodiment, gender and posthumanism, and to recalibrate our understanding of it in relation to male-dominated Postminimalism and installation art, which have often underpinned Larner’s critical reception. Poet Ariana Reines, cultural critic and theorist Catherine Liu, and curators Connie Butler and Mary Ceruti consider the physical properties and sociopolitical implications of the materials present in Larner’s work, which range from ceramic to steel chain to surgical gauze to human hair.
Featured image is reproduced from 'Liz Larner: Don’t Put It Back Like It Was'. |
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| | | |  | Dancing Foxes Press/Sculpture Center/Walker Art CenterISBN: 9781733688956
USD $35.00 | CAN $47 UK £ 28Pub Date: 8/30/2022
Active | In stock
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|  | Holzwarth PublicationsISBN: 9783935567916
USD $65.00 | CAN $87Pub Date: 8/22/2017
Active | In stock
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|  | Karma, New YorkISBN: 9781942607243
USD $40.00 | CAN $54 UK £ 35Pub Date: 6/28/2016
Active | In stock
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FORMAT: Clth, 9.5 x 11 in. / 96 pgs / 110 color.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $47
GBP £28.00
ISBN: 9781733688956
PUBLISHER: Dancing Foxes Press/Sculpture Center/Walker Art Center
AVAILABLE: 8/30/2022
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
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| Liz Larner: Don’t Put It Back Like It Was Published by Dancing Foxes Press/Sculpture Center/Walker Art Center.
Edited by Karen Kelly, Barbara Schroeder. Text by Connie Butler, Ariana Reines, Catherine Liu. Conversation by Mary Ceruti. A long-overdue appreciation of the influential sculpture of Liz Larner and its radically adventurous formal and conceptual vocabulary Los Angeles–based sculptor and installation artist Liz Larner (born 1960) was originally a photographer: in some of her earliest projects, she documented the volatility of bacterial cultures in petri dishes. However, she soon realized that she was more compelled by the dishes themselves and how they presented questions about what an art object can entail. Since then, she has continued to pursue her interest in formal unpredictability through a focus on sculpture and architectural space. Composed of a diverse variety of materials, her sculptures frequently function as optical illusions that seem to bend the space around them. Sometimes rigidly technical in their geometry and at other times soft-edged and amorphous, Larner’s sculptures are striking both for their fluctuation of form and for their representation of spatial politics.
Repositioning her enduring formal and material concerns alongside her relationship to a feminist sculptural position, this monograph offers an opportunity to consider Larner’s artistic project within today’s expanded discourses of embodiment, gender and posthumanism, and to recalibrate our understanding of it in relation to male-dominated Postminimalism and installation art, which have often underpinned Larner’s critical reception. Poet Ariana Reines, cultural critic and theorist Catherine Liu, and curators Connie Butler and Mary Ceruti consider the physical properties and sociopolitical implications of the materials present in Larner’s work, which range from ceramic to steel chain to surgical gauze to human hair.
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