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Marisol: Sculptures and Works on Paper, by Marina Pacini
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A highly-anticipated volume that elucidates Marisol's artistic evolution and reestablishes her as a major figure in postwar American art
The Paris-born, Venezuelan artist Marisol (b. 1930) burst onto the 1960s New York art scene with large figural sculptures in a wild amalgam of mixed media. Often satirical, Marisol's art is inspired by sources as diverse as Pre-Columbian art, folk art, Cubism, and Surrealism. For the past several decades, however, Marisol has shunned the spotlight and her artwork has been overlooked as a result.
Accompanying the first retrospective of Marisol's work in more than a decade, this long-awaited and beautifully illustrated volume offers a much-needed corrective, reestablishing her role as a major figure in postwar American art. Essays by leading scholars of Latin American and 20th-century art explore all facets of her work including her influences, the theme of family, American politics and pop culture, Native American rights and poverty, her role as a female artist, and her relationship to Latin America and Latin American art.
- Sales Rank: #967344 in Books
- Published on: 2014-04-22
- Original language: English
- Number of items: 1
- Dimensions: 11.65" h x .87" w x 9.43" l,
- Binding: Hardcover
- 192 pages
Review
“Just as important as the show is the first-rate catalog that accompanies it. Published by Yale University Press in association with the Memphis Brooks, it has a revelatory biographical essay by the show’s indefatigable curator, Marina Pacini, and several accompanying essays, by Dore Ashton, Deborah Cullen, and Douglas Dreishpoon among others, that do much to deepen our understanding of Marisol, her times, and her preoccupations.” —Sebastien Smee, Boston Globe (Sebastien Smee Boston Globe)
“Substantial and scholarly, [the catalog includes] Deborah Cullen’s fascinating essay ‘Reframing Marisol: Latin American Contexts’ . . . [and] a rich essay by the show’s curator, Marina Pacini, who writes: ‘For Marisol, the family was a fertile subject that provided access to the history of art, contemporary life, and issues of gender and social politics as well as her own identity.’ ”—Karen Rosenberg, New York Times (Karen Rosenberg New York Times)
About the Author
Marina Pacini is chief curator of American, modern, and contemporary art at the Memphis Brooks Museum of Art, Memphis, TN. Bill Anthes is associate professor of art history at Pitzer College, Claremont, CA. Dore Ashton is professor of art history at the Cooper Union, New York, and senior critic at the Yale School of Art. Deborah Cullen is director and chief curator of the Miriam and Ira D. Wallach Art Gallery at Columbia University, New York. Douglas Dreishpoon is chief curator at the Albright-Knox Art Gallery, Buffalo, New York.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Marisol Exhibition Catalog
By Loves the View
I'm waiting for a full scale biography of this artist, but in the meanwhile, this catalog of a recent exhibition at the Memphis Brooks Museum of Art will have to do. Marina Pacini, the museum's Chief Curator and Curator of American Modern and Contemporary Art its editor/contributor gets high marks from me for the exhibit (which I would love to have seen) her two essay contributions to the book, and the wonderful photographs representing the wide range of this artist.
The works are organized into six sections, each with an essay. The strongest essays are by Pacini on Marisol's biography and her theme of family and by Deborah Cullen on Marisol's Latin American influence.
Most of the 164 figures are in color. The ones selected for full pages are the ones you want to see. Collectively they show the wide range of Marisol's work. I was unaware of the drawings and the heavy De Kooning influence.
I (and many others I'm sure) don't usually read catalogs cover to cover. With the dearth of available material on Marisol, I wanted a good text and was disappointed with much of it. The "Voice Behind the Content" essay begins by criticizing Gloria Steinem for noting that Marisol rarely speaks and feels that her work speaks for her, and then goes on to develop the criticized point. In the section on Marisol's Indians, the writer devotes more space to the photos on which the Marisol work is based than on Marisol's work. There is no explanation why only North and not South American Indians are portrayed. Perhaps Marisol did no South American Indians, but from essay on Latin American influence essay, you would expect that she had. The "Musings" essay rambles. As with any collection of essays, the work does not always hold together when assembled. There are 3 tellings of the story of Marisol and her mask.
Check this out for the retrospective of Marisol's work. While you may not be familiar with the all items shown, it is a broad representation. If you read the text you will you will learn something about this "Garbo" of the art world but you will be hungry for more. Hopefully there will be a bio in the not too distant future.
1 of 1 people found the following review helpful.
Five Stars
By Daniel A. Escobar
Amazing book on Marisol.
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