Mernet Larsen
著者
書誌事項
Mernet Larsen
Damiani, 2013
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Chronology: p. [87]-93
内容説明・目次
内容説明
Mernet Larsen is the first monograph published on the American painter who has recently been rediscovered by the art world as a significant voice in the "extensive, possibly global conversation about how to portray modern, three-dimensional life on two dimensional surfaces" (Roberta Smith, New York Times). Larsen's paintings do not resemble anyone else's. They are a complete world and, in that regard, belong to the tradition that includes Giorgio de Chirico and Rene Magritte. Larsen's paintings are abstracted figurations with Japanese-inspired perspective. Tracing paper cut-outs are used all across the canvas, giving her works a constructed appeal. She pursues radical spatial solutions; eschewing conventional single-point perspective in favour of parallel perspective, reverse perspective and eccentric, seemingly improvised but rigorously seen-through fusions of different systems within the same work. By destabilising the location of the viewer, sometimes indeed to the point of inducing vertigo, she forces us to know, rather than merely see, the situation. Her representational practice grew out of abstraction and is pervaded by awareness of Japanese narrative scrolls.
Larsen's subjects include classrooms, coffee shops, vacation spots, and malls -- gathering places. She has also explored people sitting in a car, being fitted, exercising in a gym, adoring a child, riding an escalator, shaking hands, and shooting at an unseen target. The monograph gives a full analysis of Larsen's work of the past thirty years with a focus on her oeuvre since 2000. John Yau presents an in-depth essay that analyses individual works as much as he puts Larsen's work in place with regards to her contemporaries.
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