Robert Therrien
Lynn Zelevansky
Softcover | 23.5 x 0.64 x 27.94 cm | 112 pp
Los Angeles County Museum of Art | 2000 | 9780875871868
The artwork of Robert Therrien (1947-2019) makes reference to commonplace, even cliched motifs - a snowman, a cloud, a Dutch door, a bird in flight, a stack of plates. In the perfection of their proportions and the simplicity of their forms these works - sculptures, reliefs, and two-dimensional pieces - partake of a cool objectivity. Their narrative associations, however, give them the intimacy of personal history. They possess a wholesome familiarity, yet their often huge size gives them an uncanny; disquieting quality.
This volume accompanied Therrien's eponymous exhibition at Los Angeles County Museum of Art in 2000 and examines the artist's work of the previous decade. Curator Lynn Zelevansky explores the transformation of forms that formed the hallmark of Therrien's artistic process and situates his work within contemporary art practice.
Essayist Thomas Frick discusses the work vis-a-vis the formalist tradition in art and examines the paradoxical nature of its abstract and figurative aspects. In the volume's third and final essay, art historian Norman Bryson investigates the visceral effect of Therrien's sculpture on the viewer, relating its effects to the corporeal invasions and restitutions found in animated cartoons.
Description
Lynn Zelevansky
Softcover | 23.5 x 0.64 x 27.94 cm | 112 pp
Los Angeles County Museum of Art | 2000 | 9780875871868
The artwork of Robert Therrien (1947-2019) makes reference to commonplace, even cliched motifs - a snowman, a cloud, a Dutch door, a bird in flight, a stack of plates. In the perfection of their proportions and the simplicity of their forms these works - sculptures, reliefs, and two-dimensional pieces - partake of a cool objectivity. Their narrative associations, however, give them the intimacy of personal history. They possess a wholesome familiarity, yet their often huge size gives them an uncanny; disquieting quality.
This volume accompanied Therrien's eponymous exhibition at Los Angeles County Museum of Art in 2000 and examines the artist's work of the previous decade. Curator Lynn Zelevansky explores the transformation of forms that formed the hallmark of Therrien's artistic process and situates his work within contemporary art practice.
Essayist Thomas Frick discusses the work vis-a-vis the formalist tradition in art and examines the paradoxical nature of its abstract and figurative aspects. In the volume's third and final essay, art historian Norman Bryson investigates the visceral effect of Therrien's sculpture on the viewer, relating its effects to the corporeal invasions and restitutions found in animated cartoons.
