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20TH CENTURY MOVEMENTS

PUBLISHER
DelMonico Books/The Museum of Contemporary Art, Los Angeles

BOOK FORMAT
Hardcover, 9.5 x 11.5 in. / 256 pgs / 191 color / 10 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2024 p. 9   

PRODUCT DETAILS
ISBN 9781636811000 TRADE
List Price: $69.95 CAD $99.95 GBP £59.99

AVAILABILITY
In stock

TERRITORY
WORLD

EXHIBITION SCHEDULE

Los Angeles, CA
The Museum of Contemporary Art, 11/24/24–05/04/25

THE FALL 2024 ARTBOOK | D.A.P. CATALOG

Artbook | D.A.P. Catalog Cover Link
Preview our FALL 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
  

DELMONICO BOOKS/THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES

Ordinary People: Photorealism and the Work of Art since 1968

Edited with text by Anna Katz. Text by Gabriela Rodriguez-Gomez, Karin G. Oen, Dhyandra Lawson, Cynthia Daignault.

Ordinary People: Photorealism and the Work of Art since 1968

This fresh look at photorealism argues for its continued relevance today

This volume, Ordinary People, recovers the social art history of the long-dismissed genre of photorealism and demonstrates the continued relevance of photorealist strategies for artists working today. Spanning the 1960s to the present, this large-scale reexamination of the postwar art movement features the work of more than 40 artists, including paintings, drawings, sculptures and murals. It recasts the work of canonical and underrecognized photorealists of the 1960s and ’70s in new frameworks and identifies younger artists who have deployed photorealism as a vehicle for social/political critique. Unlike the typical photorealism survey, Ordinary People includes a diverse, multigenerational group of artists, with a focused look at the major contributions of women and BIPOC artists to the genre. It explores the representational politics of photorealist painting in the context of the recent rise of figurative portraiture and covers the myriad ways that artists, through this seemingly nonconfrontational aesthetic, have enticed viewers to confront painful historical events and social experiences.
Artists: John Ahearn and Rigoberto Torres, Michael Alvarez, John Baeder, Judie Bamber, Gina Beavers, Robert Bechtle, Dike Blair, Andrea Bowers, Vija Celmins, Lenore Chinn, Chuck Close, Cynthia Daignault, Richard Estes, Audrey Flack, Ralph Goings, Sayre Gomez, Alfonso Gonzalez Jr., Duane Hanson, Barkley L. Hendricks, Nur Koçak, Jennifer J. Lee, Marilyn Levine, Sam Lipp, Hung Liu, Richard McLean, Marilyn Minter, Catherine Murphy, Calida Rawles, Ben Sakoguchi, Shizu Saldamando, Joan Semmel, Amy Sherald, Mamie Tinkler, Betty Tompkins, Jesse Treviño, Brittany Tucker, John Valadez, Vincent Valdez, Christine Tien Wang, Idelle Weber, Kehinde Wiley, Martin Wong, Takako Yamaguchi.


Image: Barkley L. Hendricks, "Tequila" (1978)

Ordinary People: Photorealism and the Work of Art since 1968

in stock  $69.95


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FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 10/24/2024

Photorealism lives!

Photorealism lives!

Amy Sherald’s 2017 oil painting, The lesson of falling leaves, is reproduced from new release Ordinary People: Photorealism and the Work of Art since 1968, published to accompany the major MOCA LA survey on view now through May 2025. Spanning from the 1960s to today, and including everyone from Robert Bechtle and Richard Estes to Joan Semmel and Marilyn Minter, this book proves that the genre is not just alive and well, but sometimes challenging, weird and confrontational. In her catalog essay, MOCA curator Anna Katz discusses Sherald. “The dichotomy between painting and photography, drawn along lines of racial exclusion and inclusion, is stark in the work of self-described ‘American Realist’ Amy Sherald, who was catapulted to national fame at the unveiling of her portrait of First Lady Michelle Obama in 2018. The lesson of falling leaves exemplifies her selection of Black sitters, often strangers, whom she chooses for their ‘quality of existing in the past, present, and future simultaneously.’ … Sherald’s signature is the depiction of the bodies (skin, hair, nails, eyes) of her portrait subjects in grayscale. She uses grayscale to invoke the nineteenth-century daguerreotype, which comprised some of the earliest portraits of African Americans. In the history of European and North American art, Black people rarely figured in painted portraits and enjoyed their first opportunities to be portrait subjects upon the dissemination of the relatively accessible means of photography. The photographic is thus doing heavy lifting here: whereas in [works by artists like Jesse Treviño and Robert Bechtle], the nonhierarchical distribution of details anchors the images to a specific time and place, in Sherald’s painting the photographic locates a historical origin of representation for Black subjects, while also pointing out a history of absence and pointing toward a future inclusion. The photographic is a corruption, an acknowledgment and an abrogation of painting’s racist foundations.” continue to blog


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