Marisol: Sculptures and Works on Paper (Hardcover)
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.
Published in association with the Memphis Brooks Museum of 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.
Published in association with the Memphis Brooks Museum of Art
Exhibition Schedule:
Memphis Brooks Museum of Art
(06/14/14–09/07/14)
El Museo del Barrio
(10/09/14–01/10/15)
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.
“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
“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
— Sebastien Smee
“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