Text by Travis Jeppesen, Eileen Myles, Brian Dillon.
British artist Helen Marten (born 1985) combines disparate materials and painted images in elaborate sculptural tableaux composed of assembled materials that resonate with associative meaning. Frequently employing visual and linguistic ambiguity in order to explore the potential of misinterpretation and misunderstanding, Marten’s output includes sculpture, videos, text and screen-printed paintings. Conceived as an artist’s book-cum-catalog for an exhibition at the Serpentine Sackler Gallery, Helen Marten: Drunk Brown House focuses on key works produced by the artist in recent years, and offers detailed perspectives on Marten’s meticulous installations. With an essay by Brian Dillon that investigates Marten’s practice, as well as texts by Travis Jeppesen and Eileen Myles that take inspiration from the artist’s works, this volume presents a fittingly eclectic approach to one of today’s most restlessly innovative artists.
Featured image is reproduced from 'Helen Marten: Drunk Brown House.'
FORMAT: Pbk, 8 x 11.5 in. / 224 pgs / 554 color. LIST PRICE: U.S. $29.95 LIST PRICE: CANADA $39.95 ISBN: 9783960980056 PUBLISHER: Walther König, Köln AVAILABLE: 2/28/2017 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR
Published by Walther König, Köln. Text by Travis Jeppesen, Eileen Myles, Brian Dillon.
British artist Helen Marten (born 1985) combines disparate materials and painted images in elaborate sculptural tableaux composed of assembled materials that resonate with associative meaning. Frequently employing visual and linguistic ambiguity in order to explore the potential of misinterpretation and misunderstanding, Marten’s output includes sculpture, videos, text and screen-printed paintings.
Conceived as an artist’s book-cum-catalog for an exhibition at the Serpentine Sackler Gallery, Helen Marten: Drunk Brown House focuses on key works produced by the artist in recent years, and offers detailed perspectives on Marten’s meticulous installations. With an essay by Brian Dillon that investigates Marten’s practice, as well as texts by Travis Jeppesen and Eileen Myles that take inspiration from the artist’s works, this volume presents a fittingly eclectic approach to one of today’s most restlessly innovative artists.