A leading artist of her generation, Sam Taylor-Wood came to prominence in the mid-1990s as one of the YBAs (Young British Artists), alongside such artists as Damien Hirst and Tracey Emin, who were quickly propelled to celebrity status for their provocative and sensational works. Taylor-Wood has since become renowned for deftly manipulating the signature media of our age--photography, film and video--into compelling psychological portraits that tap into the ethos of our times. Documenting the artist's first major solo museum exhibition in the United States, this catalogue illustrates and discusses a selection of her most significant works from the mid-1990s to the present. Key pieces include the film "Hysteria" (1997), which portrays a woman's tumultuous descent from exhilaration to psychic disintegration; a selection from the 2002-2004 Crying Men photographs, which depict male film stars in moments of sorrow and introspection; "David" (2004), an hour-long video portrait of soccer icon David Beckham, sleeping; and the 2004 Self Portrait Suspended series. This volume provides an overview of the artist's work of the last 10 years, with commentary on Taylor-Wood's exploration of such themes as the inner psyche, vulnerability--both emotional and physical--suspended states of being and the aspiration to transcend human limits.
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Book Description
Editorial Reviews
From Library Journal
As one of London's Young British Artists (YBAs), Taylor-Wood gained international notoriety for her participation in the Sensation show in 1997, which inspired a furor over public funding for art when it appeared at the Brooklyn Museum of Art two years later; in 1998 she was short-listed for England's Turner Prize. This self-titled book is the first comprehensive look at her work, and its publication coincides with a major exhibition at London's Hayward Gallery. Using film, video installation, and photography, Taylor-Wood creates scenarios that examine hidden aspects of the human condition. In her celebrated series "Five Revolutionary Seconds," for instance, she presented highly staged, 360 panoramic photographs of actors in ambiguous, upscale London interiors. Despite the crowded rooms, these grand panoramas suggest emotional isolation, a recurrent theme in the artist's work. Featuring essays by British cultural critic Bracewell and artist/curator Miller, as well as an insightful interview with the artist herself, this book is highly recommended for all collections, especially academic libraries.
Shauna Frischkorn, Millersville Univ., PA
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Shauna Frischkorn, Millersville Univ., PA
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
About the Author
Sam Taylor-Wood graduated from Goldsmiths College in 1990. Since her first solo exhibition at White Cube in 1995, she has had numerous solo shows at venues including the Hirshhorn Museum, Washington, D.C., Fondazione Prada, Milan, the Stedelijk Museum, Amsterdam and the Hayward Gallery, London. In 1997 she received the Illy CafE Prize for Most Promising Young Artist at the Venice Biennale and was nominated for the Turner Prize.
Barbara London is associate curator of the Department of Film and Video at The Museum of Modern Art, New York.
Barbara London is associate curator of the Department of Film and Video at The Museum of Modern Art, New York.
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I was very excited to see that there was a new collection of Sam Taylor-Wood's work available. Unfortunately, this book is extremely disappointing. There are nearly as many pages of text as there are photographs, and very little of Taylor-Wood's work is included. Although the book is inexpensive, you are basically only getting about 20 full page pictures, another 20 pages of tiny pictures on the page with a lot of negative space, and another 10 pages of something in between.
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