| | BOOK FORMAT
Clth, 9 x 11.75 in. / 352 pgs / 344 color / 80 bw. PUBLISHING STATUS
Pub Date 6/27/2023
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D.A.P. Exclusive
Catalog: SPRING 2023 p. 4 PRODUCT DETAILS
ISBN 9781935963264 TRADE
List Price: $65.00 CAD $91.00 GBP £56.00 AVAILABILITY
In stock | TERRITORY
WORLD | EXHIBITION SCHEDULEMinneapolis, MN
Walker Art Center, 04/15/23–09/03/23
San Francisco, CA
San Francisco Museum of Modern Art, 10/21/23–01/28/24
New York, NY
MoMA PS1, 03/28/24–09/02/24
Toronto, Canada
Art Gallery of Ontario, 10/12/24–01/19/25 | | THE FALL 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our FALL 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
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| | | Pacita AbadEdited with text by Victoria Sung. Text by Pio Abad, Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Xiaoyu Weng.
 A comprehensive survey of Abad's visually dazzling and politically prescient works blending fabric and paintingThis volume surveys three decades of Pacita Abad’s multifaceted practice. Published on the occasion of her first-ever retrospective, it includes new research and writing by Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Victoria Sung and Xiaoyu Weng, an edited oral history about the artist’s life and work by Pio Abad and Victoria Sung, and never-before-seen artworks and archival materials.
Over the course of her career, Abad made an exuberant, wide-ranging body of work that was ahead of its time in promoting a transcultural worldview. Moving between the Philippines, Indonesia, Singapore and the US—while also spending extended periods in dozens of countries on six continents—she interacted with the many artist communities she encountered on her travels. Drawing on her knowledge of global fiber traditions, Abad innovated a hybrid art form that she called “trapunto” painting (from the Italian word trapungere, “to embroider”). Made by stitching and stuffing her painted canvases as opposed to stretching them over a wood frame, the resulting works’ portability speaks to her peripatetic existence, while their association with textiles evokes female, non-Western forms of labor that have historically been marginalized as craft.
Pacita Abad (1946–2004) was born in Batanes, Philippines. Because of her activism against the Marcos regime, she was forced to leave for the US in 1970, where she studied Asian history at the University of San Francisco and painting at the Corcoran School of Art in Washington, DC, and the Art Students League in New York City. Abad created more than 5,000 artworks and had over 60 solo exhibitions in the US, Asia, Europe, Africa and Latin America.
PRAISE AND REVIEWSAIGA This book never stopped being visually arresting, compelling, and joyful. Hyperallergic Sarah Rose Sharp A new exhibition catalogue illustrates the artist’s dedication to humanity, managing a tender balance between self-expression and true global consciousness. Hyperallergic Sarah Rose Sharp Cataloguing more than 100 works and featuring oral histories from Abad’s closest interlocutors, the book extensively details the beautiful visual practice of an artist who was remarkably unbounded in lifestyle, medium, vision, and process. Hyperallergic Sarah Rose Sharp Cataloguing more than 100 works and featuring oral histories from Abad’s closest interlocutors, the book extensively details the beautiful visual practice of an artist who was remarkably unbounded in lifestyle, medium, vision, and process. Hyperallergic Sarah Rose Sharp Cataloguing more than 100 works and featuring oral histories from Abad’s closest interlocutors, the book extensively details the beautiful visual practice of an artist who was remarkably unbounded in lifestyle, medium, vision, and process. Artnet Sarah Cascone The artist’s appeal is now instantly apparent in Abad’s must-see retrospective. Bookforum Tausif Noor Honors the breadth and fervor of Abad’s roving career...this jewel of a catalogue permits the artist’s legacy to shine, resplendently. Nation Jasmine Liu This exhibition affords her a level of recognition from the American art establishment that she never received while alive, and it is also an occasion for the celebration of the many other textile practices flourishing in the hands of women worldwide, which museums still so often struggle to appreciate on their own terms. Vogue Raymond Ang Abad’s signature format was trapunto, a style of large-scale quilt. Despite the playfulness of their textures and coloring, Abad’s versions often tackled dense, complicated intersectionalities, from her identity as an immigrant Ivatan woman in the Western world to the social and political tensions of the authoritarian Marcos regime in the Philippines. Financial Times: How To Spend It Ariella Budick She crammed her art full of folk traditions, making political messaging and feminism safe for pleasure. Even her most pointed works quiver with delight. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 8/9/2024 Don't miss Pacita Abad—on view at MoMA PS1 through September 2 and a “thrilling” recent critic's pick in the New York Times. Spreads here are from the Walker Art Center's superbly-designed, first-ever retrospective catalog on the exuberant, internationally itinerant Filipino textile-plus artist. “Textiles, for Abad, were more than a material consideration,” Walker curator Victoria Sung writes. “They constituted a theoretical modality—one that incorporated feminist, transnational and decolonial strategies—in their maker’s insistence on fabric as painting, stitching as labor and ornamentation as objective. Just as the Congolese sapeurs (and present-day sapeuses, as the women are known) mixed and matched different articles of European clothing into defiantly bold yet elegant ensembles, Abad created her own compositional aesthetic using the technique of trapunto (from the Italian word trapungere meaning “to embroider”). Abad described trapunto in straightforward terms: ‘I paint, using either oil or acrylic, on canvas and then collage. This top layer carries the design. To this I add a backing cloth and stuff polyester filling in between. The two layers are then joined with running stitches.’ Yet, the medium was far from straightforward. … Abad practiced a defiant form of bricolage that art historian Patrick Flores has described, tongue in cheek, as the work of a ‘flaneur bricoleur.’” continue to blog | ART BOOKS & MUSEUM EXHIBITION CATALOGS: FORTHCOMING AND RECENT RELEASES |  | Walker Art CenterISBN: 9781935963301
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