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Liza Lou

by

Liza Lou Cover

 

Synopses & Reviews

Publisher Comments:

”Known for her life-size sculptures made entirely of beads, Lou has had audiences and critics spellbound since her debut exhibit 15 years ago.  Critic Heartney offers a full monograph on the woman and the work.” ~Publishers Weekly

Review:

"This gorgeous volume collects two decades of Lou's obsessive beadwork art, beginning with the amazing Kitchen from 1995, through her later, darker work, such as 2008's Maximum Security, completed in South Africa, where Lou currently resides. The contributors provide excellent insight into Lou's art, life, and influences. Schjeldahl kicks things off by discussing the early work, including Kitchen and Back Yard, aptly describing the former as 'ungraspable in its wholeness,' and the latter as 'a steady-state hallucination.' Heartney focuses on Security Fence, Cell, and Scaffold, among other pieces, calling Cell 'a gray, tan, and white-beaded room replicating...the deathrow cubicles at San Quentin jail.' Weschler interviews the artist about her performance piece, Born Again, a narrative he describes as 'bringing out both the glory and the horror, the splendors and the violations inherent' in the artist's childhood 'in a born-again Christian household.' Finally Lubow discusses Lou's decision to move her studio to Durban, South Africa and her recent work, most of which centers around 'the loci of confinement.' A beautiful book that manages to capture the true wonder of Lou's work. (Mar.)" Publishers Weekly (Starred Review) Copyright PWxyz, LLC. All rights reserved.

About the Author

Liza Lou is based in Los Angeles, and has worked in KwaZulu Natal, South

Africa for the past five years. She has exhibited in numerous solo exhibitions internationally, including the Metropolitan Museum of Art, New York, Museum Kunst Palast, Düsseldorf, the Smithsonian Institution of American Art, Washington, D.C., and Fondació Joan Miró, Barcelona. Eleanor Heartney is a writer, critic, and editor at large at Art in America.

Eleanor Heartney is a contributing editor to Art in America and Artpress and has written extensively on contemporary art issues.  Her books include: Postmodern Heretics: The Catholic Imagination in Contemporary Art (2004) and Art and Today (2008).  She is a coauthor of After the Revolution: Women Who Transformed Contemporary Art (2007).

Lawrence Weschler is a cultural historian who is the director of the Institute of Humanities at New York University.

Arthur Lubow is a cultural writer who writes regularly for the New York Times.

Peter Schjeldahl is the art critic of The New Yorker.

Product Details

ISBN:
9780847834617
Author:
Heartney, Eleanor
Publisher:
Skira Rizzoli
Author:
Weschler, Lawrence
Author:
Lubow, Arthur
Author:
Schjeldahl, Peter
Author:
Heartney, Eleanor
Subject:
General-General
Copyright:
Publication Date:
20110331
Binding:
HARDCOVER
Grade Level:
General/trade
Language:
English
Illustrations:
200 COLOR ILLUSTRATIONS
Pages:
264
Dimensions:
10.26 x 10.38 x 1.37 in 4.08 lb

Related Subjects

Arts and Entertainment » Architecture » Houses
Arts and Entertainment » Art » Artists
Arts and Entertainment » Art » Featured Titles
Arts and Entertainment » Art » Individual Artists » Artists' Books
Arts and Entertainment » Art » Individual Artists » Monographs
Arts and Entertainment » Drama » Featured Titles

Liza Lou Used Hardcover
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$26.00 In Stock
Product details 264 pages Skira Rizzoli - English 9780847834617 Reviews:
"Publishers Weekly Review" by , "This gorgeous volume collects two decades of Lou's obsessive beadwork art, beginning with the amazing Kitchen from 1995, through her later, darker work, such as 2008's Maximum Security, completed in South Africa, where Lou currently resides. The contributors provide excellent insight into Lou's art, life, and influences. Schjeldahl kicks things off by discussing the early work, including Kitchen and Back Yard, aptly describing the former as 'ungraspable in its wholeness,' and the latter as 'a steady-state hallucination.' Heartney focuses on Security Fence, Cell, and Scaffold, among other pieces, calling Cell 'a gray, tan, and white-beaded room replicating...the deathrow cubicles at San Quentin jail.' Weschler interviews the artist about her performance piece, Born Again, a narrative he describes as 'bringing out both the glory and the horror, the splendors and the violations inherent' in the artist's childhood 'in a born-again Christian household.' Finally Lubow discusses Lou's decision to move her studio to Durban, South Africa and her recent work, most of which centers around 'the loci of confinement.' A beautiful book that manages to capture the true wonder of Lou's work. (Mar.)" Publishers Weekly (Starred Review) Copyright PWxyz, LLC. All rights reserved.
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