Published by Richter Verlag. Text by Dieter Schwarz.
From the beginning of his career, Fred Sandback (1943–2003) used drawing to formulate his ideas of sculptural volume. In pictures of existing rooms, Sandback explored the possibilities of spaces and planes by drawing his famous horizontal, vertical and diagonal lines in colored pencil. In the 1980s, he expanded his drawing repertoire to include acrylic, the pochoir technique and pastel. In these late drawings--considered to be more pictorial than his pencil sketches--Sandback elaborated on the experience of space, mass and volume in ways impossible in a coherent space: many of these sculptural ideas are absolutely boundless. Only a specific section of the whole is intimated in the drawing, for which Sandback invented unusual techniques: actual incisions instead of drawn lines, for instance, or painterly traces on transparent film. Superbly produced and edited, Fred Sandback: Drawings assembles works from a 30-year span, supplemented by sculptural works.
BOOK FORMAT Hardcover, 10.5 x 12.5 in. / 208 pgs / 243 color.
PUBLISHING STATUS PUB DATE 11/30/2014 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2014 p. 137
PRODUCT DETAILS ISBN 9783941263680TRADE LIST PRICE: $60.00 CDN $70.00
AVAILABILITY In stock
in stock $60.00
free FedEx Ground shipping
FEDEX GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
American artist Fred Sandback is known for sculptures that outline planes and volumes in space, informed by a minimalist artistic vocabulary. Though Sandback employed wire, rods and elastic cord in his earliest works, he soon dispensed with mass by using acrylic yarn to create sculptures that produced perceptual illusions while addressing their physical surroundings—"the pedestrian space," as Sandback called it, of everyday life.
Published by David Zwirner. Text by James Lawrence.
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.
Published by Kerber. Edited by Reinhard Spieler, Kerstin Skrobanek. Preface by Reinhard Spieler. Text by Fred Jahn, Kerstin Skrobanek.
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.
Published by Hatje Cantz Publishers. Edited by Friedemann Malsch and Christiane Meyer-Stoll. Essays by Yve-Alain Bois and Thierry Davila.
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.
Published by Richter Verlag. Essay by Gianfranco Verna.
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.