Introduction by Russell Ferguson. Text by Jenelle Porter. Contributions by Catherine Opie. Interview by Heidi Zuckerman.
Published to coincide with her solo exhibition at the Aspen Art Museum, this catalogue surveys over five years of Los Angeles–based artist Liz Larner's (born 1960) wall-based ceramic works. Larner’s process explores the natural compression and fragmentation of the body and of ceramic forms themselves. Fired and coated with pigment and resin, each ceramic work fits into one of six categories: inflexion, caesura, subduction, mantle, passage and calefaction. Resembling magnificently colored ancient tablets or sculptural specimens of the mineral world, the pieces have fissures and cracks that evoke geological processes.
With a photo-essay by Catherine Opie, an essay by curator and writer Jenelle Porter, and an interview between Larner and Aspen Art Museum Director Heidi Zuckerman, this is an accessible entry into the work of an eminent female artist whose practice continues to radically enliven contemporary sculpture.
Featured image is reproduced from 'Liz Larner.'
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FORMAT: Pbk, 8.25 x 11 in. / 168 pgs / 80 color. LIST PRICE: U.S. $40.00 LIST PRICE: CANADA $54 GBP £35.00 ISBN: 9781942607243 PUBLISHER: Karma, New York AVAILABLE: 6/28/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Karma, New York. Introduction by Russell Ferguson. Text by Jenelle Porter. Contributions by Catherine Opie. Interview by Heidi Zuckerman.
Published to coincide with her solo exhibition at the Aspen Art Museum, this catalogue surveys over five years of Los Angeles–based artist Liz Larner's (born 1960) wall-based ceramic works. Larner’s process explores the natural compression and fragmentation of the body and of ceramic forms themselves. Fired and coated with pigment and resin, each ceramic work fits into one of six categories: inflexion, caesura, subduction, mantle, passage and calefaction. Resembling magnificently colored ancient tablets or sculptural specimens of the mineral world, the pieces have fissures and cracks that evoke geological processes.
With a photo-essay by Catherine Opie, an essay by curator and writer Jenelle Porter, and an interview between Larner and Aspen Art Museum Director Heidi Zuckerman, this is an accessible entry into the work of an eminent female artist whose practice continues to radically enliven contemporary sculpture.
