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Beginning in 1969, Robert Overby (1935-1993) produced an eclectic body of work that was rarely exhibited in his lifetime. Despite a diversity of media and an equally wide range of subject matter, Overby returned consistently to the human form.His polyurethane stretches and ghost-like latex casts of walls and doors belong to the history of late 1960s and early 1970s experiments in Anti-Form, Process art, and post-Minimalism. His 1980s image paintings are post-Pop combinations of figure and abstraction that explore similar issues of surface, decay, and the skin between the real and its incorporeal other.Robert Overby's first solo exhibition was held posthumously in New York in 1996. Since then he has been the subject of a retrospective at the UCLA Hammer Museum, and his work has been collected by the Art Institute of Chicago; Whitney Museum of American Art; Museum of Contemporary Art, LA; San Francisco Museum of Modern Art; Los Angeles County Museum; and The Museum of Modern Art, NY.This book is a reprint of his first publication, 336 to 1 August 1973-July 1969, which he conceived, edited, and designed himself. Published with the Estate of Robert Overby.
"This catalogue is published on the occasion of the exhibition Robert Overby: Parallel, 1978-1969, organized and presented by the UCLA Hammer Museum of Art and Cultural Center, June 25-September 3, 2000"--T.p. verso.
Despite his prolific and diverse practice, Robert Overby (1935-93) remains one of the best kept secrets in postwar American art. Rarely exhibiting during his lifetime, Overby--who worked for much of his life as a graphic designer in Los Angeles--nevertheless built up an extraordinary, multifaceted body of work encompassing sculpture, installation, painting, photography, print and collage. He is perhaps best known for his doors, windows and building facades cast in rubber, latex and concrete, a series of works that set off a rigorous period of experimentation with materials and a consistent exploration of the human condition and its decay. This monograph is published on the occasion of the first survey exhibition of the artist's work to be organized in Europe, which brings together more than 50 of Overby's works drawn from European and American collections.
Robert Ward has always enjoyed travelling, especially on foot. When he discovered the ancient pilgrimage route to Santiago in Spain, he felt compelled to walk and experience this historic road. From his first journey along the Camino de Santiago, Ward fell in love with the pace, landscape, history, art, and romance of this old pilgrimage path. Above all, however, Ward fell in love with the people of the Camino – both the welcoming Spaniards and the pilgrims who come from all over the world to find out what it means to travel five hundred miles, one step at a time. In All the Good Pilgrims, Ward returns to Spain to walk the Camino for the fifth time. He thinks he knows what he’s getting into but, as his many Camino journeys have taught him, the Camino never runs out of surprises. Each day brings new lessons, friendships, questions, memories, gifts and challenges, reminding Ward that it isn’t the pilgrim who walks the Camino – it’s the Camino that walks the pilgrim. An engaging travel narrative, All the Good Pilgrims is a personal and insightful tour of the Camino de Santiago, as Ward takes readers on a secular pilgrimage in which he reflects on his past journeys and contemplates the mysterious and enduring allure of this ancient and historic road.
In 1960, 22-year-old Robert Khayat experienced a year in which his own life, the nation, and the state of Mississippi were forever changed. The same spring that four college students in North Carolina refused to move from a segregated lunch counter, Khayat's SEC champion Ole Miss baseball team was denied the right to play in the NCAA tournament because they might encounter a Black opponent. At the same time that young John F. Kennedy became a household name, Khayat's dark-skinned father was making an unlikely ascent to become one of the most politically powerful men in Mississippi. And two high-profile segregationists - Redskins owner George Preston Marshall and Mississippi Governor Ross Barnett - would impact Khayat's life in ways he could never have imagined. The events of 1960 set the stage for a revolution . . . and Robert Khayat was living in the midst of it all. 60: A Year of Sports, Race & Politics is the story of the year that changed everything for a nation, its culture, and a promising young man from Mississippi.
The book is not about works of art that simply document criminal acts. Rather, it is about a strain of art that presents the art object as a clue to absent meanings or actions.