Charles Arnoldi: 1972-2008

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[caption id="attachment_1978" align="alignnone" width="577"]Arnoldi and his Venice, California studio. Photos by Jim McHugh. [/caption]

FOREWORD BY FRANK GEHRY
ESSAY BY DAVE HICKEY
CONVERSATION BETWEEN GREGORY AMENOFF, FRED HOFFMAN, CHARLOTTE JACKSON,  MICHAEL ZAKIAN AND CHARLES ARNOLDI
PUBLISHED BY RADIUS BOOKS

 

When an artist has been working for four decades, one can expect him to produce several bodies of work composed of different styles, directions and materials.  Charles Arnoldi is no different, just more prolific and talented than many: sticks, bronze potatoes with titles like Silver Bullet, painted, sculptural forms cut by chainsaw, abstract expressionist forms painted on canvas or cut from plywood. Arnoldi has done it all and elegantly at that. Lately, he has also produced limited-edition boxed sets of his book and etchings that are sold to help publish other art books.

Published by Radius Books, Charles Arnoldi is a new monograph that chronicles his work.. Unlike many art books on the market, it informs as well as entertains. It’s a weighty tome, but it’s visually beautiful and a delightful read, containing a foreword by Frank Gehry, a witty essay by art critic Dave Hickey, and conversations between Arnoldi, Charlotte Jackson (whom Arnoldi credits with the idea for the book), Michael Zakian
(director of the Frederick R. Weisman Museum of Art at Pepperdine University), art dealer Fred Hoffman, and Gregory Amenoff (visual arts chair of the Columbia University School of the Arts).

Printed on first-rate stock, the book contains 160 color plates selected from roughly 4,500 works, taking readers along on a creative journey that includes organic, hippie-style assemblages of wooden sticks—some burned, others painted, others joined at various angles like the lead lines of stained glass windows—to neo-abstract expressionist paintings and linear assemblages of shaped canvases framing empty spaces that Arnoldi calls “window paintings.”

Hickey writes that Arnoldi, whom he calls “the kid,” is a refugee from the flat banality of the Midwest who came to Los Angeles, along with Ed Ruscha, Joe Goode and Billy Al Bengston, to be a commercial artist but fell among evil companions. A good move, one might say.

 

For more information, visit www.radiusbooks.org

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