Edited by Gloria Sutton. Text by Ina Blom. Interview by Roxana Marcoci.
The photographic and sculptural arrangements of Sara VanDerBeek (born 1976) emulate a poet’s economic use of structure, phrasing and rhythm, to suspend images and multiple processes within a rigorously shaped framework. This first book-length study presents close readings of VanDerBeek’s experimentation with photographic capture, printing, cast-concrete forms and built environments that draw on diverse material cultures. Ultimately, the book distills VanDerBeek’s experiences and recollections of visits to Detroit, New Orleans, Los Angeles, Rome, Paris, Naples, Rotterdam and New York between 2006 and 2016. Contributions by international scholars and curators offer an oblique angle not only into VanDerBeek’s vital practice, but also the ways that VanDerBeek is shaping current debates on the relationship between image and object in contemporary art.
Featured image is reproduced from Sara VanDerBeek.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FORMAT: Pbk, 8.25 x 11.75 in. / 160 pgs / 100 color. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $67.5 ISBN: 9783775741088 PUBLISHER: Hatje Cantz AVAILABLE: 6/28/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA
Published by Hatje Cantz. Edited by Gloria Sutton. Text by Ina Blom. Interview by Roxana Marcoci.
The photographic and sculptural arrangements of Sara VanDerBeek (born 1976) emulate a poet’s economic use of structure, phrasing and rhythm, to suspend images and multiple processes within a rigorously shaped framework. This first book-length study presents close readings of VanDerBeek’s experimentation with photographic capture, printing, cast-concrete forms and built environments that draw on diverse material cultures. Ultimately, the book distills VanDerBeek’s experiences and recollections of visits to Detroit, New Orleans, Los Angeles, Rome, Paris, Naples, Rotterdam and New York between 2006 and 2016. Contributions by international scholars and curators offer an oblique angle not only into VanDerBeek’s vital practice, but also the ways that VanDerBeek is shaping current debates on the relationship between image and object in contemporary art.
