Asset Details
Do you wish to reserve the book?
The Material Pleasures of Sculptor Isermann; Art ReviewThe artist takes familiar, homey objects and makes them startlingly his own in an eye-catching retrospective
Hey, we have placed the reservation for you!
By the way, why not check out events that you can attend while you pick your title.
Oops! Something went wrong.
Looks like we were not able to place the reservation. Kindly try again later.
Are you sure you want to remove the book from the shelf?
The Material Pleasures of Sculptor Isermann; Art ReviewThe artist takes familiar, homey objects and makes them startlingly his own in an eye-catching retrospective
Do you wish to request the book?
The Material Pleasures of Sculptor Isermann; Art ReviewThe artist takes familiar, homey objects and makes them startlingly his own in an eye-catching retrospective
Please be aware that the book you have requested cannot be checked out. If you would like to checkout this book, you can reserve another copy
We have requested the book for you!
Your request is successful and it will be processed during the Library working hours. Please check the status of your request in My Requests.
Oops! Something went wrong.
Looks like we were not able to place your request. Kindly try again later.
Newspaper Article
The Material Pleasures of Sculptor Isermann; Art ReviewThe artist takes familiar, homey objects and makes them startlingly his own in an eye-catching retrospective
1999
Overview
On Thursday, the Santa Monica Museum of Art transformed its big, central gallery into a bracing rumpus room for the eye, the mind and the soul, courtesy of a 15-year survey of sculpture by Jim Isermann. The three dozen works in this concise presentation comprise the most satisfying show yet in the museum's inaugural year at Bergamot Station. Isermann's work is sculpture in an expansive sort of way, one that accentuates any craftsmanship that results in a tangible object. Making is meaning in Isermann's art, which turns elusive social and cultural dynamics into material stuff. Look at the amoeba-like shape of a fuzzy chair seat, and your visual memory riffles through curious layers of reference: the scientific foundations of modern life, which begat the biomorphic soup of Surrealist abstraction, which filtered into popular styles of middle-class furniture, which here get pulled into contemporary sculpture. Most of all, however, there is Andy Warhol, whose category-busting, gender-bending precedent Isermann's art pointedly acknowledges. A 1985 group of brightly colored pictures of stylized flowers painted in shiny enamels derives from Warhol's famous 1964 flower paintings. Rather than silk-screen a pastoral photograph of flowers torn from a seed catalog, as Warhol did, Isermann adapted the machine-fabricated \"Summer of Love\" floral decals that became ubiquitous in Warhol's wake, adorning everything from bathtubs to Volkswagen buses.
Publisher
Los Angeles Times Communications LLC
Subject
