Fred Sandback

FORTHCOMING & NEW RELEASES

FRED SANDBACK
Text by James Lawrence.
RADIUS BOOKS/DAVID ZWIRNER
ISBN: 9781934435588 | US $60.00
Pub Date: 5/31/2013
Forthcoming

ACTIVE BACKLIST

FRED SANDBACK: DRAWING SPACES
KERBER
ISBN: 9783866785588 | US $29.95
Pub Date: 4/30/2012
Active | Awaiting stock

FRED SANDBACK: DRAWINGS 1968-2000
Essay by Gianfranco Verna.
RICHTER VERLAG
ISBN: 9783937572338 | US $25.00
Pub Date: 3/1/2006
Active | In stock

OUT OF PRINT LISTING

FRED SANDBACK: BEING IN A PLACE
HATJE CANTZ PUBLISHERS
ISBN: 9783775717205 | US $55.00
Pub Date: 3/1/2006
Out of print | Not available

Fred Sandback

Fred Sandback

Text by James Lawrence.
Published by Radius Books/David Zwirner

Outlining planes and volumes in space with the humblest of materials, American artist Fred Sandback’s (1943–2003) work makes ingenious use of the Minimalist artistic vocabulary. Though Sandback employed metal wire and elastic cord in his earliest works, he soon dispensed with these materials and began using acrylic yarn to create sculptures that produced perceptual illusions while addressing their physical surroundings--what the artist termed the “pedestrian space” of everyday life. Sandback’s work has been exhibited internationally since the late 1960s; several of his works are on permanent display at Dia:Beacon, and he was the subject of an extensive survey exhibition organized in 2005 by the Kunstmuseum Liechtenstein in Vaduz. With 90 reproductions in color, this beautifully produced publication presents significant works from five decades of the artist’s career and also includes a fully illustrated chronology with selected biographical and bibliographical material.

Fred Sandback: Drawing Spaces

Edited by Reinhard Spieler, Kerstin Skrobanek. Preface by Reinhard Spieler. Text by Fred Jahn, Kerstin Skrobanek.
Published by Kerber

This catalogue presents a broad selection of Fred Sandback’s works on paper, drawings and prints, providing impressive evidence of how seamlessly Sandback transferred the techniques of lithography, etching and woodcuts into the aesthetics of his time and traces the development of his sculptures in these media.

Fred Sandback: Being in a Place

Edited by Friedemann Malsch and Christiane Meyer-Stoll. Essays by Yve-Alain Bois and Thierry Davila.
Published by Hatje Cantz Publishers

As a student at Yale, Fred Sandback struggled with sculpture until George Sugarmann told him "if you are so sick of the parts, why not just make a line with a ball of string and be done with it." For the rest of his career, Sandback used taut and resonant strings to sculpt space and light. Ephemeral and site-specific, his Minimalist sculptures, familiar to visitors to Dia:Beacon among other museums, use colorful acrylic yarn strung between the ceiling and floor or into the corners of an exhibition space to interrupt and delineate space, refer to drawing, evoke volume, create magical boundaries that beg to be traversed, and give the viewer occasion to pause and consider. His clusters of lines can seem to create walls or doors, or make the space reverberate like the body of an instrument whose strings have just been plucked. The artist himself called them "pedestrian spaces" by which he meant to describe both the viewer as a passerby and his art as an everyday thing. Following his death, his remaining works feel less pedestrian, less everyday, more precious and more ephemeral, each irreplacable one ready, as many have, to revert to a tangle of threads.

Fred Sandback: Drawings 1968-2000

Essay by Gianfranco Verna.
Published by Richter Verlag

Fred Sandback wanted from the beginning to make sculpture, but sculpture with neither volume nor mass, neither interior nor exterior. For more than half his life he succeeded in that impossible-sounding task, solving its riddle with lines in the form of steel wire and acrylic string. He described spaces, constructed perspectives, and demarcated borders, visible and invisible. The drawings on paper collected here, while closely allied to his exhibition work, were seldom mere drafts or working sketches; they are autonomous and self-confident signs.