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Tony Tasset
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The first international comprehensive examination of the disarmingly assessable conceptual art of Anthony Tasset
For over 35 years Tasset has held a unique position in the lexicon of contemporary art with a remarkably diverse body of art. A self described art nerd, Tasset's imagery comes from his wide ranging knowledge and empathy for all types of art. He once said, "I'm not going for originality, I'm striving for the quintessential." The artist's spectacular objects unlock memories. He revels in demonstrating the similarity between the grandest artistic gesture and the humblest child's scribble. With a satirist disposition he interrogates institutions-galleries, museums, public art and even his own position of power.
His art has intentionally quoted from high modernism, folk, vernacular and performance art. This egalitarian ethic has led to a diverse group of iconic artworks and beloved permanent public sculptures. Born in Cincinnati and spending the last forty years in Chicago, Anthony Tasset embodies a midwestern plain-spoken, kind hearted scepticism. Never passive, his art compels a reaction, it can be cutting, even cruel, but it can also be as tender as a Neil Young song, often at the same time.
This 250 page, hardcover book contains 200 reproductions chosen by the artist, and extensive essays by Michelle Grabner and Andrew Russeth. In addition, Tasset has invited artists he greatly admires; Jeanne Dunning, Pamela Fraser, Judy Ledgerwood, Jose` Lerma, Inigo Manglano-Ovalle, Cauleen Smith, Phillip Vanderhyden and John Waters to chose and write on one of his works.
About the Authors
Michelle Grabner is an artist, writer, and curator based in Wisconsin. She is the Crown Family Professor of Art at the School of the Art Institute of Chicago where she has taught since 1996. She has curated several important exhibitions and in 2014, she was named one of the 100 most powerful women in art.
Andrew Russeth is an art critic based in Seoul, South Korea. He has been executive editor of ARTnews and an editor at Surface and The New York Observer.
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