By David Levi Strauss
In his 3rd booklet, Strauss delves into the mysterious procedure wherein an concept is born within the brain and materialized during the hand within the expression of an paintings. How precisely does this ensue? it is a query so uncomplicated, an act so primary to art-making, that it has hardly acquired realization. It makes an amazing subject for Strauss, a author with a great skill to animate art's philosophical dimensions in a transparent, persuasive demeanour. in this time whilst craft and the direct manipulation of fabrics by way of the artist seem to be in eclipse, Strauss involves their protection 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 effect of curators Harald Szeemann and Walter Hopps at the staging of up to date artwork exhibitions.
Known essentially for his writings on images and politics, Strauss the following makes a speciality of the least mediated arts--painting, sculpture, and writing. His claims are supported via a sequence of shut readings which achieve convalescing the immediacy of the hand and revitalizing modern art's connection to the prior
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Extra info for From head to hand : art and the manual
Sample text
I immediately rented a four-wheel-drive vehicle and drove north on Yellowhead Highway, the only main road on the islands, linking Sandspit, Skidegate, and Queen Charlotte City in the south with Masset and Haida in the north. After smallpox decimated the population of the many old villages, the surviving Haida split up, settling in either Skidegate or Masset. Though there has always 48 FROM HEAD TO HAND been some rivalry between the two towns, current relations are mostly friendly. When I arrived in Masset and called Reg Davidson, he invited me to accompany him to a “doing” the next day: a mortuary potlatch in Skidegate, put on by Chief Skidegate himself to honor the first anniversary of the death of his two young sons.
The balance achieved in this sculpture, between the assertions of the material and the will of the artist, showed Hague a way forward. 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.
If this kind of time is no longer available to us, then Hague’s sculptures will eventually become ciphers, and we will have lost something critical to our survival. Hague used to say that Arshile Gorky had teased him in the 1940s about being “behind the times,” but Hague thought then that his sculptures might come through in the end, like the tortoise passing the hare. And well they might, if anyone is still around to see the finish. II Standing stone surrounded by seven oak saplings (top) and 7,000 one-year-old oak seedlings (bottom) in the walled garden at Uisneach, in Ireland, photographed by David Levi Strauss in 2000 Beuys in Ireland I believe that planting these oaks is necessary not only in biospheric terms .