Published by Hatje Cantz. Text by Federica Zanco, Daniel Garza Usabiaga.
In 2016 sculptures by Fred Sandback (1943–2003) were installed in the Casa Luis Barragán, the Casa Antonio Gálvez, Cuadra San Cristóbal and the Casa Gilardi of Luis Barragán (1902–88). The American minimalist and the Pritzker Prize–winning Mexican architect share a common interest in the properties of light and color; the remarkable interplay between their works, documented in photographs, is presented for the first time in this publication, with essays by Barragán Foundation Director Federica Zanco and curator Daniel Garza Usabiaga, as well as a conversation between architect Roger Duffy, artist Amavong Panya, curator Lilian Tone and author Edward Vazquez.
Published by David Zwirner Books. Text by Yve Alain-Bois, Lisa Le Feuvre. Contribution by David Gray.
This new publication marks the first comprehensive survey of a seminal body of work that helped make Fred Sandback (1943–2003) into an internationally celebrated artist. This catalog takes its lead from a 1987 presentation of Sandback’s work at Westfälischer Kunstverein in Münster, also called Vertical Constructions. With a mixture of archival imagery of the sculptures in situ in Münster, new photography of these works installed at David Zwirner in 2016 and an expanded selection of sculpture, this publication is both a historical document and a source for the renewed attention to this body of work. Scholarship by Yve-Alain Bois revisits the power of Sandback’s immateriality in the context of the vertical constructions while Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist’s writings and other works from the 1980s.
Fred Sandback (1943–2003) was an American artist known for sculptures that outlined planes and volumes in space. Though he employed metal wire and elastic cord early in his career, the artist soon dispensed with mass and weight by using acrylic yarn to create works that address their physical surroundings, the “pedestrian space,” as Sandback called it, of everyday life. By stretching lengths of yarn horizontally, vertically, or diagonally at different scales and in varied configurations, the artist developed a singular body of work that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity.
Yve-Alain Bois is a professor of art history at the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey. Bois has written widely on modern and contemporary art, and his 2005 essay on Sandback’s work has remained one of the most influential pieces of scholarship on the artist to date.
Lisa Le Feuvre is head of sculpture studies at the Henry Moore Foundation. Le Feuvre has taught at numerous academic organizations, including Chelsea College of Art, Goldsmiths, Royal College of Art, Sotheby’s Institute of Art, San Francisco Art Institute, and Städelschule, among many others.
David Gray is an editor and art historian. He is presently a board member at the Fred Sandbank Archive; project director, Robert Ryman Catalogue Raisonné; and executive director, The Greenwich Collection, Ltd., a nonprofit foundation. He has contributed to catalogues raisonnés for John Cage, Dan Flavin, and Felix Gonzalez-Torres.
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 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 $79.00
AVAILABILITY In stock
in stock $60.00
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Published by David Zwirner Books. 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. 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.