Published with Museo Nacional Centro de Arte Reina Sofía.
For more than six decades, James Castle (1899-1977) dedicated himself virtually full-time to the activity of making art, producing a vast and accomplished body of work, much of which he managed to preserve. Growing up in rural Idaho, Castle devised his own art materials and techniques, making ink for drawing by moistening soot from the family stove with his own saliva and using discarded paper and other materials. In the 1950s, through the efforts of family members, Castle's work came to the attention of the local art community, and it began to be exhibited in Idaho and the Pacific Northwest, often under the rubric of outsider or self-taught art. Not until the late 1990s, however, did it appear in mainstream art circuits. Castle's work poses numerous challenges for the art historian. He was born profoundly deaf and never adopted conventional means of communication and thus never commented on his art. His works are neither titled nor dated, and it is difficult to trace an evolution or establish a chronology. As a result, previous scholarship has tended to focus on Castle's biography or on specific aspects of his oeuvre. James Castle: Show and Storetakes a different approach, looking at the entire scope of the artist's production--which included drawings, constructions made from found pieces of colored card and handmade books--and emphasizing the centrality of his display and storage methods to his practice. The essays in this volume also question the notion of Castle as an artist who worked in isolation from the world at large, examining his copying and reuse of images derived from printed media, including advertising and product packaging, and perhaps even television. Illustrated with more than 200 full-color reproductions, Show and Storeexamines drawings, handmade books, cardboard and paper constructions and collages.
Born profoundly deaf, James Castle (1899-1977) never fully learned to read or write, instead developing his own unique sign system and visual vocabulary. He won some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition after his death in 1977.
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Suzanne Hudson is Assistant Professor of Modern and Contemporary Art, University of Southern California. Her writing appears in various art historical journals, and she is the author of three other books.
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Hardcover. Zustand: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized. Bestandsnummer des Verkäufers M1935202707Z3
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Cloth. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. 224 pages with color illustrations. Though still in shrink-wrap there might be small minor bumps to the corners and edges underneath the plastic. Published on the occasion of the exhibition from the Museo Nacional Centro de Arte Reina Sofía, Madrid, from May 18 - September 5, 2011. Select Biography. Book. Bestandsnummer des Verkäufers 025954
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Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. Hardcover book in near fine condition. Pages are crisp and clean, bearing no additional markings of any kind. Binding is firm and tight as new. Dustjacket shows no blemishes and is protected by a clear removable brodart cover. Bestandsnummer des Verkäufers 33,613xABE
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Hardcover. Zustand: Like New. Immediate dispatch from Somerset. Book in excellent unread/unused condition. See images. Fantastic book. About the book >.>.> In recent years, one of the challenges undertaken by the Museo Reina Sofia has been to problematize some of the labels that have been assigned to artists and their practices throughout the twentieth century. Pigeonholes such as Outsider Art, Art Brut, or Naive Art serve to categorize artistic proposals yet pay little or no attention to their profound complexity. The Museo Reina Sofia is taking steps to eliminate boundaries such as the sepa- ration between what we call the "fine" arts and popular artistic practices. It is essen- tial to contribute to an art history that is not presented from a dominant position. Much has been written about artists such as James Castle, who have been marginal- ized within the traditional art historical discourse. Art historians have frequently assumed that self-taught artists lack commitment to their production and suffer from a lack of self-awareness. Castle was an artist with no academic training, he was profoundly deaf and never learned to read or write or to use sign language. Recent publications have focused more. Bestandsnummer des Verkäufers Batch-FM317-LN-7809
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Bestandsnummer des Verkäufers 9781935202707
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Hardcover. Zustand: New. For more than six decades, James Castle (1899-1977) dedicated himself virtually full-time to the activity of making art, producing a vast and accomplished body of work, much of which he managed to preserve. Growing up in rural Idaho, Castle devised his own art materials and techniques, making ink for drawing by moistening soot from the family stove with his own saliva and using discarded paper and other materials. In the 1950s, through the efforts of family members, Castle's work came to the attention of the local art community, and it began to be exhibited in Idaho and the Pacific Northwest, often under the rubric of outsider or self-taught art. Not until the late 1990s, however, did it appear in mainstream art circuits. Castle's work poses numerous challenges for the art historian. He was born profoundly deaf and never adopted conventional means of communication and thus never commented on his art. His works are neither titled nor dated, and it is difficult to trace an evolution or establish a chronology. As a result, previous scholarship has tended to focus on Castle's biography or on specific aspects of his oeuvre. James Castle: Show and Storetakes a different approach, looking at the entire scope of the artist's production--which included drawings, constructions made from found pieces of colored card and handmade books--and emphasizing the centrality of his display and storage methods to his practice. The essays in this volume also question the notion of Castle as an artist who worked in isolation from the world at large, examining his copying and reuse of images derived from printed media, including advertising and product packaging, and perhaps even television. Illustrated with more than 200 full-color reproductions, Show and Storeexamines drawings, handmade books, cardboard and paper constructions and collages.Born profoundly deaf, James Castle (1899-1977) never fully learned to read or write, instead developing his own unique sign system and visual vocabulary. He won some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition after his death in 1977. (20111201). Bestandsnummer des Verkäufers 96136
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