By David Levi Strauss
In his 3rd ebook, Strauss delves into the mysterious approach wherein an idea is born within the brain and materialized throughout the hand within the expression of an paintings. How precisely does this occur? it is a query so easy, an act so basic to art-making, that it has not often got realization. It makes a great subject for Strauss, a author with an excellent skill to animate art's philosophical dimensions in a transparent, persuasive demeanour. in this time while craft and the direct manipulation of fabrics by means of the artist seem to be in eclipse, Strauss involves their safeguard in a lively cri de coeur.
Featuring over 35 illustrations, the e-book examines a wide selection of media and person examples. It explores the works of sculptors Martin Puryear, Ursula von Rydingsvard, and Donald Lipski; painters Leon Golub and Ron Gorchov; and writers Robert Duncan, Robert Kelly, man Davenport, John Berger, and Leo Steinberg. moreover, there are essays on Joseph Beuys's 7000 Oaks in eire, modern Haida carvers Reg Davidson and Jim Hart, Cecilia Vicuña's "memory of the fingers," and the impression of curators Harald Szeemann and Walter Hopps at the staging of up to date artwork exhibitions.
Known basically for his writings on images and politics, Strauss the following specializes in the least mediated arts--painting, sculpture, and writing. His claims are supported via a chain of shut readings which reach improving the immediacy of the hand and revitalizing modern art's connection to the earlier
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Extra info for From head to hand : art and the manual
When Hague’s work was shown at the Museum of Modern Art in 1956, Leo Steinberg wrote that Hague’s sculptures were “more concretely physical, far less involved with ideal essences than Brancusi’s. . ”4 Even though most of Hague’s sculptures are roughly the same size, some of them do fool the eye, suggesting a monumentality far greater than their actual dimensions—from the centrifugal spread of Peekamoose, to the forceful truncations of Onandaga, to the gravitational compaction and concentrated mass of Wallkill Walnut.
And if the modernist stands “before a void out of which all things may grow,” the traditional artist stands, always, between two worlds. ON THE WAY TO HAIDA GWAII The deepest instinct of Haida culture is that there must always be two sides, and that they must come together in marriage: that they must touch: that the boundary between them must be crossed repeatedly—and that the boundary nevertheless is absolute and must remain. —Robert Bringhurst, The Black Canoe (1992) 9 Crossing Hecate Strait by air from mainland British Columbia to the Queen Charlotte Islands, one realizes very quickly why the ancient Haida had such a reputation as rugged seafarers.
Both Reg and Jim have been included in numerous exhibitions and have completed commissions internationally. Reg has danced in Kobe and paddled a Haida canoe up the Seine in Paris. One of Jim’s poles graces the grounds of Soﬁro, the king’s old summer castle in Helsingborg, Sweden. As originally intended by the organizers, the Haida Project became a focus for a series of discussions about cultural difference arising from certain basic questions: How do distinctions between “art” and “craft” effect cultural work?