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New in paperback
Artist Lee Bontecou (b. 1931) became widely known in the 1960s and 1970s for her welded steel sculptures and plastic and epoxy molded assemblages—powerful constructions that evoked natural phenomena and organic biological life as well as machines and instruments of war.
This critically acclaimed book—available for the first time in paperback—
reevaluates the career of this highly influential artist and focuses not only upon the impact of her early work but also on the import she has exerted on a generation of younger artists. Featuring some 50 sculptures and more than 100 drawings from the late 1950s to 2003, the book presents four essays that reposition Bontecou’s work within the history of recent art, examine its shifting critical reception, discuss the artistic context in which her work was made, and analyze how science underpinned some of her earliest explorations.
- Sales Rank: #1172443 in Books
- Published on: 2008-07-08
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: .85" h x 9.71" w x 10.89" l, 3.32 pounds
- Binding: Paperback
- 240 pages
Amazon.com Review
In the 1960s, the American artist Lee Bontecou was heralded as one of the most important young artists of her time. Painstakingly crafted from castoffs--Army surplus and canvas conveyor belts from a neighboring laundry--her wall reliefs evoked a fearsome sci-fi world of black holes and bared teeth, a mysterious doom-filled terrain no one had ever seen before. In the mid-'70s, however, Bontecou disappeared from the art scene, declining to take part in exhibitions. Lee Bontecou: A Retrospective revisits five decades of this extraordinary artist's work. The texts include Elizabeth A.T. Smith's overview of Bontecou's career, Robert Storr's nuanced analysis of the cultural context of the work, Donna De Salvo's remarks about the otherworldly drawings, and a pivotal essay from 1965 by the sculptor Donald Judd. Especially intriguing is Mona Hadler's brief discussion of Bontecou's personal interests (insect life, model airplanes) and political beliefs. No one has much to say about the critically disparaged vacuum-formed plastic sculptures of fish and flowers from the 1970s. But Bontecou's intricate drawings and recent series of suspended sculptures, which Smith describes as "something between a helicopter and an insect," continue to explore a natural realm that combines delicacy and menace. Lee Bontecou, which contains 175 full-color illustrations, accompanies an exhibition of the same title at the UCLA Hammer Museum in Los Angeles through Jan. 11, 2004, which travels to Chicago and New York. --Cathy Curtis
From Publishers Weekly
One of the most acclaimed figures in the New York art world during the 1960s, Lee Bontecou dropped out the galley scene in the mid-1970s, choosing, instead, to work on her sculptures alone. This catalogue, which is timed to coordinate with major exhibitions of Bontecou's work in Los Angeles, Chicago and New York, aims to reassert the reclusive woman's place in art history-and succeeds. The catalogue's full-color plates cover all of Bontecou's career, from the welded-steel and canvas boxes that made her name in the 1960s to the intricate porcelain and wire sculptures that comprise her latest series. Bontecou's work is deeply organic-many of the sculptures resemble catfish or seagulls or flowers. As early as 1971, one critic dubbed her a "strange naturalist." Other interpretations of her work can be found in this book's five essay-length monographs. In the first, "All Freedom in Every Sense," curator Smith provides a career biography of the artist. Storr's "Seek and Hide" attempts "to situate her sculpture within a context that was contiguous with but outside the American mainstream." Judd's monograph argues that Bontecou's work derives its force from its rejection of solipsism, skepticism and irony. As the first comprehensive book on Bontecou, this catalogue has great scholarly importance. And the traveling exhibition should generate press coverage, such as Calvin Tompkin's profile the August issue of the New Yorker, which may make this book popular with a wider audience as well. 175 color illustrations.
Copyright 2003 Reed Business Information, Inc.
About the Author
Elizabeth A. T. Smith is James W. Alsdorf Chief Curator and Deputy Director for Programs at the Museum of Contemporary Art, Chicago.
Most helpful customer reviews
2 of 2 people found the following review helpful.
dazzlellipsisphere
By billytombs.com
This book on Bontecou's work is amazing.
It allows the work to speak for itself with large, color images and Bontecou's work defies definition... And triggers the imagination. If the cover intrigues you the book will dazzle.
3 of 3 people found the following review helpful.
Bontecou leads the way.
By Chance A. Dunlap
Lee Bontecou is a force. Her sculptural prowess is nearly unmatched. this work has some of the best critical essays I have ever read, and the bountiful photographs are most excellent.
0 of 0 people found the following review helpful.
Catalog is a Wonderful Companion to the Exhibition
By Robert J. Salm
It is difficult to review the exhibition catalog without first taking in the Lee Bontecou survey at one of the museum exhibitions currently traveling the US. Unfortunately the exhibition will travel to only three museums in the three largest cities in the US, yet most of the works come from public and private collections throughout the country. Luckily, readers get to see all of the pieces in a carefully written, scholarly book full of full-color reproductions, several essays about the artist and her process, essays about the artist and surrounding influences from (and in) art history, and a detailed exhibition checklist with thumbnail photos of each work in the full exhibition. There are over 150 works in the traveling exhibition presented in a catalog of 240 pages. The photographs are standard for a catalog presentation but photographs of the sculptural works may not give accurate renderings of scale or detail; once again, this is a catalog and not a coffee table book of a few of the artist's better-known works. For just a few dollars more than the softcover, get the hardbound edition; you will want to keep this book for a lifetime.
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