Edited with text by Vicente Todolí. Text by Jordan Carter, Sarah Kislingbury, Alexandra Munroe, Maurizio Nannucci, Gabriele Detterer, Shinobu Sakagami.
A sumptuous display of Byars’ mystical sculptures and installations, including the gilded tower displayed at the Venice Biennale
American artist James Lee Byars (1932–97) combined motifs from Eastern cultures, such as Noh theater and Zen Buddhism, with the ideologies of Western philosophy. Published on the occasion of the exhibition held at Pirelli HangarBicocca in Milan, this catalog presents a wide selection of emblematic works that blend geometric forms with precious materials such as marble, velvet, fine wood and gold leaf. It delves into Byars’ practice through detailed entries on the works on display written by the scholar Sarah Kislingbury, illustrated by a wide selection of historical images. The volume includes an essay by curator Jordan Carter on the relationship between Byars’ works and performances, a text by curator Alexandra Munroe on the artist’s correspondence in the context of the Fluxus aesthetic and an essay by art historian Shinobu Sakagami on Byars’ relationship with Japanese culture.
STATUS: Forthcoming | 6/4/2024
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Published by Marsilio Arte. Edited with text by Vicente Todolí. Text by Jordan Carter, Sarah Kislingbury, Alexandra Munroe, Maurizio Nannucci, Gabriele Detterer, Shinobu Sakagami.
A sumptuous display of Byars’ mystical sculptures and installations, including the gilded tower displayed at the Venice Biennale
American artist James Lee Byars (1932–97) combined motifs from Eastern cultures, such as Noh theater and Zen Buddhism, with the ideologies of Western philosophy. Published on the occasion of the exhibition held at Pirelli HangarBicocca in Milan, this catalog presents a wide selection of emblematic works that blend geometric forms with precious materials such as marble, velvet, fine wood and gold leaf. It delves into Byars’ practice through detailed entries on the works on display written by the scholar Sarah Kislingbury, illustrated by a wide selection of historical images. The volume includes an essay by curator Jordan Carter on the relationship between Byars’ works and performances, a text by curator Alexandra Munroe on the artist’s correspondence in the context of the Fluxus aesthetic and an essay by art historian Shinobu Sakagami on Byars’ relationship with Japanese culture.
