Download PDF Tony DeLap, by Barbara Rose
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Tony DeLap, by Barbara Rose
Download PDF Tony DeLap, by Barbara Rose
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A legendary figure in Californian art, Tony DeLap (born 1927) was associated with Los Angeles’ 1960s Finish Fetish school (alongside the likes of Craig Kaufman and Larry Bell), and has been a mentor to some of California’s most notable artists, including Bruce Nauman, James Turrell and John McCracken, who all studied with him. Where many artists of the Finish Fetish school eschewed the material facture of their works, DeLap has almost always chosen to construct his work himself, meticulously producing freestanding sculptures in aluminum, fiberglass, lacquer, Plexiglas, resin and molded plastics and fabrics. DeLap was included in the two shows that helped to define the Minimalist movement--Primary Structures at the Jewish Museum (1966) and American Sculpture of the Sixties at the Los Angeles County Museum of Art (1967)--and his work brilliantly merges the austerity of Minimalism with Op art illusionism. This volume surveys his career to date.
- Sales Rank: #1243768 in Books
- Published on: 2014-10-31
- Original language: English
- Number of items: 1
- Dimensions: 12.30" h x 1.50" w x 10.40" l, .0 pounds
- Binding: Hardcover
- 192 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
This survey book brings well earned recognition to an important ...
By Helen Colton
This survey book brings well earned recognition to an important California artist and the significant contributions he has made to Modernism from the 1960's to present... A resource and an opportunity to broaden our understanding of an often overlooked segment of art history.
1 of 1 people found the following review helpful.
This is a truly beautiful book on an important contemporary artist
By Geolinda
This is a truly beautiful book on an important contemporary artist. It charts the career of Tony Delap, who played an intricate part in the development of late-twentieth century modernism in California. Over the course of fifty-odd years, this still active artist has worked in a highly abstracted geometrical idiom, mining with great subtlety and unending variety issues of edge and spatial illusion in sculpture and painting, both in three and two dimensions. An introductory essay by distinguished art historian Barbara Rose weaves biographical material, such as the artist's life-long interest in magic, into an insightful discussion of the art, placing it into the context of developments from the 1960s and later. Even the brief preface by Douglas Dreishpoon offers astute observations about the beautiful preparatory drawings and the role they play in a rigorous and carefully meditated working process. The quality of the illustrations is unusually fine and gives a good sense of the beauty and visual interest of the work.
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