Edited with introduction by Cathleen Chaffee. Foreword by Janne Sirén. Text by Anna Katherine Brodbeck, Estrellita Brodsky, Alex Da Corte, Mary-Dailey Desmarais, Jessica S. Hong, Delia Solomons, Julia Vázquez. Contributions by Jason Hose.
The most comprehensive volume yet published on the work and legacy of the "forgotten star of Pop art," with previously unpublished materials and new scholarly explorations
In the mid-1960s Marisol was lauded as the female artist of her generation and was proclaimed to be "the only girl artist with glamour" for her fashion sense and "the Latin Garbo" for her apparent exoticism, legendary beauty and famed silences. Thousands lined up to see her remarkable life-size Pop art sculptures early in her career, and her celebrity nearly overshadowed her formidable accomplishments. But this attention would fade following her temporary retreat from the art world in the late 1960s and a shift in her work's subject matter. Her 2016 obituary in the Guardian described her as "the forgotten star of Pop art." This catalog, the most comprehensive on Marisol’s work ever assembled, accompanies a major traveling retrospective organized by the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery) that reckons with the entirety of her pioneering, multifaceted, 60-year career. While celebrating her satirical and deceptively political sculptures and self-portraits that helped define the 1960s, the book’s essays also examine her works that embody animal intelligence and allude to environmental precarity, testify to interpersonal violence, engage with the immigrant experience, figure postcolonial disenfranchisement and destabilize sexual norms and gender binaries. Her public sculptures and collaborations with choreographers are examined for the first time. Assessments by leading scholars affirm Marisol’s radical legacy for the 21st century. These exciting reflections are presented alongside full-color reproductions of her works, a robust bibliography, an exhibition history and an illustrated chronology. Marisol (1930–2016) was born Maria Sol Escobar in Paris to a Venezuelan family. She drew continually and from a young age adopted the name Marisol. Like many of the artists who emerged in the early 1950s, Marisol was at first influenced by Abstract Expressionism, but after seeing pre-Columbian art in Mexico and New York, she began making sculpture in 1954, and soon began focusing on the totemic figures for which she is best known.
PRAISE AND REVIEWS
Brooklyn Rail
Jessica Holmes
Marisol was so productive, her work took so many routes and approaches, it’s clear that a case for restoring her to the conversation of twentieth-century art is necessary and overdue, and this survey makes important first strides. That she was forward-thinking and ahead of her time seems unimpeachable.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published on the occasion of the most comprehensive exhibition ever mounted on the iconic, irreverent, yet until-recently overlooked Pop artist Marisol—on view now at the Montreal Museum of Fine Arts en route to the Toledo Museum of Art, Buffalo AKG Art Museum and the Dallas Museum of Art through 2025—Marisol: A Retrospective is a must-have monograph for anyone interested in contemporary art as well as a Holiday Gift Staff Pick, 2023. Alongside 275 color reproductions spanning sculpture, drawings, costume design, installation diagrams, commercial and activist works and archival photographs, this volume overflows with information via scholarly essays and robust captions, bibliography, and an exhibition history and illustrated chronology. Clearly ahead of her time not only in terms of her art production but her politics, over six decades Marisol brought a passionate criticality to issues of social justice for women and immigrants and was an outspoken advocate for the environment, among other causes. Featured photograph, by Nancy Astor, is of Marisol with La visita (The Visit) in 1964. continue to blog
Published on the occasion of the most comprehensive exhibition ever mounted on the iconic, irreverent, yet until-recently overlooked Pop artist Marisol—on view now at the Montreal Museum of Fine Arts en route to the Toledo Museum of Art, Buffalo AKG Art Museum and the Dallas Museum of Art through 2025—Marisol: A Retrospective is a must-have monograph for anyone interested in contemporary art as well as a Holiday Gift Staff Pick, 2023. Alongside 275 color reproductions spanning sculpture, drawings, costume design, installation diagrams, commercial and activist works and archival photographs, this volume overflows with information via scholarly essays and robust captions, bibliography, and an exhibition history and illustrated chronology. Clearly ahead of her time not only in terms of her art production but her politics, over six decades Marisol brought a passionate criticality to issues of social justice for women and immigrants and was an outspoken advocate for the environment, among other causes. Featured photograph, by Nancy Astor, is of Marisol with La visita (The Visit) in 1964. continue to blog
FORMAT: Hbk, 8 x 11.5 in. / 272 pgs / 275 color. LIST PRICE: U.S. $75.00 LIST PRICE: CANADA $108.5 GBP £65.00 ISBN: 9781636811017 PUBLISHER: DelMonico Books/Buffalo AKG Art Museum AVAILABLE: 11/7/2023 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD
Published by DelMonico Books/Buffalo AKG Art Museum. Edited with introduction by Cathleen Chaffee. Foreword by Janne Sirén. Text by Anna Katherine Brodbeck, Estrellita Brodsky, Alex Da Corte, Mary-Dailey Desmarais, Jessica S. Hong, Delia Solomons, Julia Vázquez. Contributions by Jason Hose.
The most comprehensive volume yet published on the work and legacy of the "forgotten star of Pop art," with previously unpublished materials and new scholarly explorations
In the mid-1960s Marisol was lauded as the female artist of her generation and was proclaimed to be "the only girl artist with glamour" for her fashion sense and "the Latin Garbo" for her apparent exoticism, legendary beauty and famed silences. Thousands lined up to see her remarkable life-size Pop art sculptures early in her career, and her celebrity nearly overshadowed her formidable accomplishments. But this attention would fade following her temporary retreat from the art world in the late 1960s and a shift in her work's subject matter. Her 2016 obituary in the Guardian described her as "the forgotten star of Pop art."
This catalog, the most comprehensive on Marisol’s work ever assembled, accompanies a major traveling retrospective organized by the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery) that reckons with the entirety of her pioneering, multifaceted, 60-year career. While celebrating her satirical and deceptively political sculptures and self-portraits that helped define the 1960s, the book’s essays also examine her works that embody animal intelligence and allude to environmental precarity, testify to interpersonal violence, engage with the immigrant experience, figure postcolonial disenfranchisement and destabilize sexual norms and gender binaries. Her public sculptures and collaborations with choreographers are examined for the first time. Assessments by leading scholars affirm Marisol’s radical legacy for the 21st century. These exciting reflections are presented alongside full-color reproductions of her works, a robust bibliography, an exhibition history and an illustrated chronology.
Marisol (1930–2016) was born Maria Sol Escobar in Paris to a Venezuelan family. She drew continually and from a young age adopted the name Marisol. Like many of the artists who emerged in the early 1950s, Marisol was at first influenced by Abstract Expressionism, but after seeing pre-Columbian art in Mexico and New York, she began making sculpture in 1954, and soon began focusing on the totemic figures for which she is best known.
