Name: An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979Â "1989 (en Inglés)
Price: 85.02 PEN
Availability: InStock
Author: Ojeda, Gustavo ; Ojeda-Sagué, Gabriel ; Kessel, Erich
ISBN: 9781940190273

portada An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979Â "1989 (en Inglés)

An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979Â "1989 (en Inglés)

Formato

Libro Físico

Por… (Artista)

Ilustrado por

Editorial

Autor

Ojeda, Gustavo ; Ojeda-Sagué, Gabriel ; Kessel, Erich

Idioma

Inglés

N° páginas

224

Encuadernación

Tapa Blanda

Dimensiones

20.1 x 14.2 x 2.3 cm

Peso

0.45 kg.

ISBN13

9781940190273

Categorías

Islas del caribe
México, centroamérica, sudamérica, latinoamérica
Dibujo y dibujos
Historia del arte
Artistas, monografías sobre arte
Artes: técnicas y principios artísticos
Historia de américa

An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979Â "1989 (en Inglés)

Gustavo Ojeda (Por… (Artista)) · Gabriel Ojeda-Sagué (Ilustrado por) · Erich Kessel (Ilustrado por) · Soberscove Press · Tapa Blanda

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Reseña del libro "An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979Â "1989 (en Inglés)"

A revelatory trove of Gustavo Ojeda's previously unseen 1980s drawings of New Yorkers in motionCuban American painter Gustavo Ojeda (1958-89) was known primarily for his lush and meditative urban nightscapes, which brought him notoriety in the 1980s downtown New York art scene. He exhibited alongside artists such as Jean-Michel Basquiat, Keith Haring and David Wojnarowicz, before dying from AIDS-related complications in 1989, just two weeks shy of his 31st birthday. Ojeda's paintings were notably unpopulated; in his private sketches, however, Ojeda fixated on the people of New York, filling thousands of pages with disembodied faces, the bodies of sleeping people riding public transportation and on the street. In the margins of his sketchbooks, Ojeda often wrote that he felt anxious about his productivity, shaming himself for not being able to paint more. An Excess of Quiet answers Ojeda's worries with the recovery of what was always right in front of him, his most obsessive and tender practice.