Synopses & Reviews
"Produced in conjunction with the lauded museum exhibition of the same name, Tilton and Charlwood's voluminous examination of the West Coast assemblage movement of the late 60s and early 70s and David Hammons in particular is a stunning souvenir of an oft-overlooked movement in American art. Though a good chunk of the book is devoted to Hammons and his works, Tilton and Charlwood expand their coverage to include other vital assemblage artists including Senga Nengudi, Betye Saar, and John Outterbridge. The Brockman Gallery, an early supporter and frequent venue for exhibitions, is also covered. A variety of essays and photos of Hammons at work give insight into his process, vision, and evolution as an artist, while the glorious full-color gallery shots of works by other artists further define the movement. The entire exhibit is included as an addendum gallery shots as well as individual images of the works themselves and acts as a fitting summation of the work and the exhibit. (Sept.)" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
L.A. Object offers a historical overview of the Los Angeles assemblage movement of the 1960s and 70s. It focuses on works by primarily African-American artists often omitted from mainstream gallery and museum historical exhibitions who were working during the civil rights movement, the 1965 Watts riots and the era's general social and cultural upheaval: Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson, Mel Edwards, David Hammons, Daniel La Rue Johnson, Ed Kienholz, Ron Miyashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, Betye Saar, Kenzi Shiokava and Timothy Washington. Central to this book are the unique body prints of David Hammons--ironic, often political commentaries relevant to the African-American experience that are presented for the first time within the context from which they arose. Also included are photographic contributions by Bruce Talamon and Harry Drinkwater.