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L.A.'s long-neglected inner-city-based assemblage movement of the '60s and '70s finally gets its hefty-hardcover due in L.A. Object & David Hammons Body Prints. The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Kienholz created lasting works out of the era's defining racial tension and urban desolation. --Lara Bonner Angeleno magazine (09/29/2011)

A sprawling and ambitious book, this title examines the work of David Hammons, Noah Purifoy, and other black Los Angeles-based artists who worked with found objects in the 1960s and 1970s. Although these artists have been largely written out of received art historical narratives on the basis both of their ethnicity and their geography, this book makes a forceful case for their importance.--Jonathan Patkowski Library Journal (11/10/2011)

The book is a beauty... There is, throughout Ms. Jones's essay and the book as a whole, voluminous documentation of work by major artists who still rarely figure in most histories of American postwar art, like Betye Saar, who made intricate figurative drawings on covered glass windows; Senga Nengundi, who was conjuring unusual forms from sand and pantyhose before Ernesto Neto was even a teenager; and John Outterbridge, whose multifarious assemblages took on a gamut of styles. Also here are John Riddle, George Herms, Greg Pitts, Daniel LaRue Johnson, Joe Ray and Timothy Washington, to name a few more.--Andrew Russeth New York Observer

The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Ed Kienholz created lasting works out of the era's defining racial tension and urban desolation.--Lara Bonner (11/01/2011) This compelling book about the city's Black Arts Movemnt fills an astonishing gap --Kim Levin ARTnews L.A.'s long-neglected inner-city-based assemblage movement of the '60s and '70s finally gets its hefty-hardcover due in L.A. Object & David Hammons Body Prints. The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Kienholz created lasting works out of the era's defining racial tension and urban desolation. --Lara Bonner Angeleno Magazine .. .L.A.'s long-neglected inner-city-based assemblage movement of the '60s and '70s finally gets its hefty-hardcover due in L.A. Object & David Hammons Body Prints. The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Kienholz created lasting works out of the era's defining racial tension and urban desolation. --Lara Bonner Angeleno Magazine -This compelling book about the city's Black Arts Movemnt fills an astonishing gap---Kim Levin -ARTnews - -...L.A.'s long-neglected inner-city-based assemblage movement of the '60s and '70s finally gets its hefty-hardcover due in L.A. Object & David Hammons Body Prints. The 424-page volume charts the primarily African-American scene that gained steam following the 1965 Watts Riots-or Rebellion, as some prefer to call it-when the big-league likes of David Hammons, Noah Purifoy, Betye Saar and Kienholz created lasting works out of the era's defining racial tension and urban desolation.---Lara Bonner -Angeleno Magazine - L.A. Object & David Hammons Body Prints is the most thorough examination to date of Hammons's early work and features installation shots, ephemera, and many never-before-published photographs of Hammons in the studio....It's an incredibly impressive book...--John Outterbridge The Wall Street Journal A sprawling and ambitious book, this title examines the work of David Hammons, Noah Purifoy, and other black Los Angeles-based artists who worked with found objects in the 1960s and 1970s. Although these artists have been largely written out of received art historical narratives on the basis both of their ethnicity and their geography, this book makes a forceful case for their importance.--Jonathan Patkowski Library Journal The book is a beauty... There is, throughout Ms. Jones's essay and the book as a whole, voluminous documentation of work by major artists who still rarely figure in most histories of American postwar art, like Betye Saar, who made intricate figurative drawings on covered glass windows; Senga Nengundi, who was conjuring unusual forms from sand and pantyhose before Ernesto Neto was even a teenager; and John Outterbridge, whose multifarious assemblages took on a gamut of styles. Also here are John Riddle, George Herms, Greg Pitts, Daniel LaRue Johnson, Joe Ray and Timothy Washington, to name a few more.--Andrew Russeth New York Observer

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