Published by Koenig Books. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Douglas Coupland, Duane Hanson, Ruba Katrib.
Duane Hanson (1925–1996) was famed for his hyperrealist casts of humans, such as "Cheerleader," "Flea Market Lady" and "House Painter." This handsome volume surveys key works produced throughout his career, and features a series of previously unpublished photographs from the 70s and 80s of museum-goers interacting with the figures.
Published by Hatje Cantz. Text by Lotte Sophie Lederballe, Thomas Buchsteiner, Keith Hartley.
You may feel as though you have seen them before, in a movie, at the gym, browsing at a yard sale, meandering through the mall, or--more likely--on your trip to Florida. Duane Hanson's life-sized fiberglass and polyester resin sculptures are the spitting images of real, breathing people; they illustrate modern consumer society with equal parts tenderness, humor and horror. This revised edition of Hatje Cantz's best-selling catalogue raisonné, featuring two new essays, documents all phases of Hanson's oeuvre, from his earliest carved wooden replica of Thomas Gainsborough's "The Blue Boy" to the last works he produced before his death in 1996. Regardless of when the works were made, though, Hanson's remarkably lifelike sculptures will always be besieged by schoolchildren and jealously protected by museum guards, for they exude a uniquely magnetic force. Viewers and readers who dare to move in close are rewarded with details that could never be studied so candidly in real life: wrinkles, facial hair, imperfections. And yet Hanson's objective was never blatant voyeurism, but access to those things we prefer to overlook, to the drabness of everyday life and the ever-present intimation of mortality.
Published by Hatje Cantz. Edited by Thomas Buchsteiner and Otto Letze. Essays by Johann-Karl Schmidt, Keith Hartley, Luzia Matimo.
Wrinkles, facial hair, varicose veins, and fingernail dirt are hardly the bodily stuff of your average figurative sculpture, be it a Praxiteles or a Rodin. But Duane Hanson was never after the ideal figure, merely the familiar one, one so recognizable it is often mistaken for the flesh-and-blood waitress, house painter or cop it so vividly, eerily depicts in polyester resin. Clothed in the most exacting of detail, down to their hidden underpants, Hanson's sculptures compell an endless, prying looking into the folds and moods of his subjects. More Than Reality, the first catalogue raisonne of his sculptures, reveals that Hanson's objective was never blatant voyeurism but the opening of a view onto those things we prefer to overlook: the drabness of everyday life, the dullness of common states of mind, the inevitability of mortality.