Contemporary Art Museum St Louis

Anthony PearsonAnthony Pearson

Anthony Pearson


Anthony Pearson sculptures and photographs explore the subtle visual and textural nuances produced by transforming various, primarily metallic materials according to their intrinsic properties. His Front Room project features a selection of recent “tablet” sculptures created through a procedure in which an original structure is formed from clay and then cast in bronze. He uses the malleable nature of clay in a manner similar to that of drawing, in which the material is worked and reworked—just as lines are drawn, erased, and drawn again—to make marks in space. By casting the final result in bronze, Pearson conversely engages a process typically associated with permanence and solidity. His previous combinations of photographic and sculptural work, in what he refers to as “arrangements,” highlighted unexpected resonances between the examinations of light, shadow, and surface in the two different mediums. This presentation of sculptures thus represents a significant departure in his practice by emphasizing their unique status as objects—simultaneously visually streamlined yet materially dense.

Designed by Mark Owens

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Anthony Pearson
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Richard Aldrich and the 19th Century French Painting

Traversing abstraction, drawn or printed text, collage, sculptural effects and humorous figuration, the work of Richard Aldrich (born 1975) constitutes an index of possibilities in painting. Aldrich frequently integrates objects such as canvas scraps or book pages in his works, citing rather than deploying the idea of a picture plane, and also loads his works with literary and personal references. For his first solo museum exhibition at the Contemporary Art Museum St. Louis, Aldrich presents 20 large-scale works alongside paintings by Edouard Vuillard, Pierre Bonnard and the Irish portraitist Sir William Orpen, selected from the Museum’s permanent collection. These three nineteenth-century artists have very little in common with Aldrich, and yet are ideally counterpointed against his paintings, refocusing the works of all four in fascinating ways. Published on the occasion of this exhibition, this volume records this exemplarily adventurous exhibition.

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Richard Aldrich and the 19th Century French Painting
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