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Liza Lou by Eleanor Heartney

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$ 119.00
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$ 119.00
Publisher : Skira Rizzoli
Binding : Hardcover
Pages : 264
Publication Date : 2011
Condition : USED - VERY GOOD
Definition :
A clean book with unmarked pages, firm binding, no foxing, unsoiled, and that it is as close to new as possible but it is not brand new.
Known for her life-size sculptures made entirely of beads, Liza Lou has had audiences and critics spellbound since her debut exhibition fifteen years ago. Liza Lou’s sculptures, room-size installations, and performances have been at the center of the art world’s bewilderment and awe since the unveiling of her first masterpiece, Kitchen, in 1996. A true-to-size replica of a kitchen in the midst of a museum gallery would hardly cause a stir, were it not for one important fact: the work is made entirely of beads. Eschewing the well-traveled path in art school to embrace the traditional mediums of painting or sculpture, Lou embarked on forging a body of work unlike any that had been seen before in the art world. In the nearly fifteen years since her auspicious debut, Lou’s work has developed from realistic room-size tableaux taken from everyday life—such as Backyard and Trailer, among others—to works no less monumental in construction and more sober in their themes, such as Security Fence and Cell. In this comprehensive volume devoted to her work, illustrated with two hundred photographs, writers, critics, and scholars explore her work in depth. From Publishers Weekly Starred Review. This gorgeous volume collects two decades of Lou's obsessive beadwork art, beginning with the amazing Kitchen from 1995, through her later, darker work, such as 2008's Maximum Security, completed in South Africa, where Lou currently resides. The contributors provide excellent insight into Lou's art, life, and influences. Schjeldahl kicks things off by discussing the early work, including Kitchen and Back Yard, aptly describing the former as "ungraspable in its wholeness," and the latter as "a steady-state hallucination." Heartney focuses on Security Fence, Cell, and Scaffold, among other pieces, calling Cell "a gray, tan, and white-beaded room replicating...the deathrow cubicles at San Quentin jail." Weschler interviews the artist about her performance piece, Born Again, a narrative he describes as "bringing out both the glory and the horror, the splendors and the violations inherent" in the artist's childhood "in a born-again Christian household." Finally Lubow discusses Lou's decision to move her studio to Durban, South Africa and her recent work, most of which centers around "the loci of confinement." A beautiful book that manages to capture the true wonder of Lou's work. (Mar.)