MARC Record from marc_columbia

LEADER: 03720cam a2200493 i 4500
001 15602635
005 20220314090057.0
008 210312t20212021nyuac bc 000 0 eng c
024 $a99989543169
035 $a(OCoLC)on1241255503
040 $aCAM$beng$erda$cCAM$dOCLCO$dYDX$dOCLCF$dBDX$dCLART$dOSU$dTOH$dCAD
020 $a9780942324419
020 $a0942324412
035 $a(OCoLC)1241255503
042 $apcc
043 $an-us---
050 4 $aN6537.H3455$bA4 2021
100 1 $aHammons, David,$d1943-$eartist.
245 10 $aDavid Hammons :$bbody prints, 1968-1979 /$cintroduction by Laura Hoptman ; contributions by Linda Goode Bryant, Senga Nengudi, Bruce W. Talamon.
246 30 $aBody prints, 1968-1979
264 1 $aNew York :$bThe Drawing Center,$c[2021]
264 4 $c©2021
300 $a129 pages, 14 unnumbered pages :$billustrations (some color), portraits (some color) ;$c23 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aDrawing papers ;$vnumber 144
500 $aPublished on the occasion of an exhibition of the same name held at The Drawing Center, New York, February 5-May 23, 2021.
504 $aIncludes bibliographical references.
505 0 $aAn introduction: David Hammons's body prints / Laura Hoptman -- In conversation / Linda Goode Bryant and Senga Nengudi -- Plates -- David Hammons, photographs 1974-1989 / Bruce W. Talamon -- Works in the exhibition -- Artist's coda.
520 $a"The first book dedicated to these pivotal early works on paper, David Hammons: Body Prints, 1968-1979 brings together the monoprints and collages in which the artist used the body as both a drawing tool and printing plate to explore performative, unconventional forms of image-making. Hammons created the body prints by greasing his own body--or that of another person--with substances including margarine and baby oil, pressing or rolling body parts against paper, and sprinkling the surface with charcoal and powdered pigment. The resulting impressions are intimately direct indexes of faces, skin and hair that exist somewhere between spectral portraits and physical traces. Hammons' body prints represent the origin of his artistic language, one that has developed over a long and continuing career and that emphasizes both the artifacts and subjects of contemporary Black life in the United States. More than a half century after they were made, these early works on paper exemplify Hammons' celebration of the sacredness of objects touched or made by the Black body, and his biting critique of racial oppression. The body prints highlighted in this volume introduce the major themes of a 50-year career that has become central to the history of postwar American art. The book features a conversation between curator and activist Linda Goode Bryant and artist Senga Nengudi, as well as a photo essay by photographer Bruce W. Talamon, who documented Hammons at work in his Los Angeles studio in 1974."
600 10 $aHammons, David,$d1943-$vExhibitions.
600 17 $aHammons, David,$d1943-$2fast$0(OCoLC)fst00294521
655 7 $aExhibition catalogs.$2fast$0(OCoLC)fst01424028
655 7 $aExhibition catalogs.$2lcgft
700 1 $aHoptman, Laura J.,$d1962-$ewriter of introduction.
700 1 $aGoode-Bryant, Linda,$econtributor,$einterviewee.
700 1 $aNengudi, Senga,$d1943-$econtributor,$einterviewer.
700 1 $aTalamon, Bruce,$econtributor.
710 2 $aDrawing Center (New York, N.Y.),$ehost institution.
830 0 $aDrawing papers ;$v144.
852 00 $boff,fax$hN6537.H3455$iA4 2021g
852 0 $bbar$hN6537.H3455$iA4 2021