Published by Museum Kurhaus Kleve. Text by Russell Ferguson, Susanne Figner, Jamillah James, Phil Taylor.
The acclaimed New York-based photographer Lucas Blalock (born 1978) creates surreal still lifes, often digitally manipulated. From bundles of raw hot dogs to watermelons smothered by plastic wrap to cactus leaves duplicated many times over, Blalock’s eye-catching tableaux reveal more bizarre details the longer one looks. The intentionally ham-fisted photographic manipulations are created in Photoshop after Blalock shoots with a large-format camera on film and then scans the images. The result is a layered network of colorful visual references, careening from the tragicomic to the absurd as they depict everyday objects in unfamiliar contexts. Underlying all of his work is Blalock’s eagerness to revel in the inherent failure connected to any attempt to revive the avant-garde.
The artist’s first full survey, this publication accompanies a solo exhibition at the Museum Kurhaus Kleve in Germany. The exhibit’s curator, Susanne Figner, provides commentary alongside essays by professor Russell Ferguson, Institute of Contemporary Art LA curator Jamillah James and Museum of Modern Art curatorial assistant Phil Taylor. The book is available in three different colors.
PUBLISHER Museum Kurhaus Kleve
BOOK FORMAT Hardcover, 9.25 x 11 in. / 152 pgs / 120 color.
PUBLISHING STATUS Pub Date 7/5/2022 Forthcoming
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2020 p. 104
PRODUCT DETAILS ISBN 9781942884682TRADE List Price: $55.00 CDN $77.00 GBP £50.00
AVAILABILITY Awaiting stock
STATUS: Forthcoming | 7/5/2022
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This career-spanning artist's book presents an alternate history of the photography of New York–based photographer Lucas Blalock (born 1978), featuring new images and previously unseen versions of existing artworks. Employing his signature style of unconcealed digital alterations, including erasures and drawings, and working in both color and black and white, Blalock emphasizes what is absent or obliterated in his manipulated portraits, scenes and still lives, often with a deadpan humor.
In A Grocer's Orgy, the artist's layout of such images brings to the forefront the underlying themes, formal connections and art-historical reference points that are often overlooked in the context of his exhibitions.