CONTEMPORARY ART MOVEMENTS

PUBLISHER
RISD MUSEUM OF ART/D.A.P.

BOOK FORMAT
Paperback, 8.75 x 10.5 in. / 368 pgs / 300 color.

PUBLISHING STATUS
PUB DATE 9/30/2014
Active

DISTRIBUTION
D.A.P. EXCLUSIVE
CATALOG: FALL 2014 p. 23   

PRODUCT DETAILS
ISBN 9781938922466 TRADE
LIST PRICE: $39.95 CDN $39.95

AVAILABILITY
In stock

EXHIBITION SCHEDULE

Providence, RI
Rhode Island School of Design Museum of Art, 09/19/14-01/09/15

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RISD MUSEUM OF ART/D.A.P.

What Nerve!

Alternative Figures in American Art, 1960 to the Present

Published by RISD Museum of Art/D.A.P.
Edited with text by Dan Nadel. Text by Robert Cozzolino, Dominic Molon, Roger Brown, John Smith, Naomi Fry, Michael Rooks, Nicole Rudick, Judith Tannenbaum.

Karl Wirsum's "Show Girl I" (1969) is reproduced from the Hairy Who chapter in <I>What Nerve!</I>What Nerve! reveals a hidden history of American figurative painting, sculpture and popular imagery. It documents and/or restages four installations, spaces or happenings, in Chicago, San Francisco, Detroit and Providence, which were crucial to the development of figurative art in the United States. Several of the better-known artists in What Nerve! have been the subject of significant exhibitions or publications, but this is the first major volume to focus on the broader impact of figurative art to connect artists and collectives from different generations and regions of the country. These are: from Chicago, the Hairy Who (James Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, Karl Wirsum); from California, Funk artists (Jeremy Anderson, Robert Arneson, Roy De Forest, Robert Hudson, Ken Price, Peter Saul, Peter Voulkos, William T. Wiley); from Detroit, Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw); and from Providence, Forcefield (Mat Brinkman, Jim Drain, Leif Goldberg, Ara Peterson). Created in collaboration with artists from these groups, the historical moments at the core of What Nerve! are linked by work from six artists who profoundly influenced or were influenced by the groups: William Copley, Jack Kirby, Elizabeth Murray, Gary Panter, Christina Ramberg and H.C. Westermann. Featuring paintings, sculptures, drawings, prints, photographs and videos, as well as ephemera, wallpaper and other materials used in the reconstructed installations, the book and exhibition will broaden public exposure to the scope of this influential history. The exuberance, humor and politics of these artworks remain powerfully resonant. Much of the work in this book, including installation photos, exhibition ephemera and correspondence, is published for the first time. What Nerve! represents the first historical examination of the circumstances, relationships and works of an increasingly important lineage of American artists.

Karl Wirsum's "Show Girl I" (1969) is reproduced from the Hairy Who chapter in What Nerve!

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/6/2014

'What Nerve' Previewed in ARTnews

'What Nerve' Previewed in ARTnewsArnie Cooper writes, "'For as long as I can remember, I've been interested in slightly off-kilter things and in what gets left out of history,' says Dan Nadel, 38, coeditor of the Comics Journal. 'I'm always immediately suspicious of canon-making.'
continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/19/2014

What Nerve! Destroy All Monsters

What Nerve! Destroy All Monsters"In this cultural suburban wasteland, there was only isolation and a sense of being betrayed. The strange brew of avant-garde experimentation and populism of late ’60s acid rock had failed in its social promises. To someone of my age (too young to be a hippie, too old to be a punk), there was definitely a feeling of resentment at having missed the short, hedonistic flowering of this dream... it seemed as if the world had ended, and all outside communication to whatever small outposts were left was cut off. Destroy All Monsters operated in this vacuum. We truly thought we were the only ones doing what we were doing." Cary Loren's Niagara as the Giant Sphinx (1975/2011) and excerpt of a passage quoting Mike Kelley are reproduced from the chapter on Destroy All Monsters in What Nerve! Alternative Figures in American Art, 1960 to the Present. continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/18/2014

What Nerve! Christina Ramberg Rediscovered

What Nerve! Christina Ramberg Rediscovered"I think that it all came from when I was young. My father was in the military and I can remember sitting in my mother’s room watching her get dressed for public appearances. I got to put her hankie, lipstick, and compact mirror in one of those tiny beautiful little purses. I watched her getting dressed, and she would wear these—I guess that they are called 'merry widow[s]'—and I can remember being stunned by how it transformed her body, how it pushed up her breasts and slendered down her waist. Then she put on these fancy strapless dresses and went to parties. I think that the paintings have a lot to do with this, with watching and realizing that a lot of these undergarments totally transform a woman’s body... Watching my mother getting dressed I used to think that this is what men want women to look like, she’s transforming herself into the kind of body men want. I thought it was fascinating . . . in some ways, I thought it was awful." Christina Ramberg's 1971 Probed Cinch the and excerpted passage from Robert Cozzolino's catalogue essay on Ramberg are reproduced from What Nerve!, Dan Nadel's mind-boggling new study of alternative figures in American art from 1960 to the present. continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/16/2014

What Nerve! Alternative Figures in American Art, 1960 to the Present

What Nerve! Alternative Figures in American Art, 1960 to the PresentIn his chapter on visionary and comic-book artist Jack Kirby, one of the featured artists in What Nerve!, his must-see and much talked-about exhibition of alternative figures in American art from 1960 to the present, curator Dan Nadel describes Dream Machine (1970-75), a detail of which is reproduced here. "There’s nothing else quite like it in Kirby’s ouvre. It is, of course, deeply psychedelic, and reminds me of work by the British design collective Archigram, drawings by Ettore Sottsass, and the maximalist paintings of Icelandic pop artist Erro, but in relation to contemporary art, Kirby was working mostly in a vacuum, even as his comic-book art found wider and wider purchase via appropriations by Richard Hamilton (1956’s Just what is it that makes today’s homes so different, so appealing?) and Roy Lichtenstein (Image Duplicator, 1963). Dream Machine has an internal logic that reinforces its title. I imagine it to be for Kirby a fully operational machine, the likes of which he never had the chance to fully flesh out in narrative comics. This is not a sprawling indulgence—it’s formally coherent. Every part of the machine connects, and it looks as though it, with looming face, could lurch into motion, creating as-yet unknown artifacts from the future. Machines fascinated Kirby his entire life, and he loved reading Popular Mechanics and various science magazines. A child of the Depression and a World War II veteran who saw horrific action, Kirby always found the future glowing and full of possibilities. He was, despite it all, an optimist." continue to blog


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