This catalogue was published to accompany the exhibition Diana Al-Hadid, on view from February 9-May 5, 2013.

Diana Al-Hadid

Arts & Photography

Volk, Gregory

Eden, Xandra

Collections, Catalogs & Exhibitions

Weatherspoon Art Museum, UNC Greensboro

Syrian-born, but raised in the U.S., Diana Al-Hadid (born 1981) is known for her gravity-defying works built from layers of gypsum, steel, cardboard, wax and paint, that integrate references to Western European and Islamic mythology. Employing motifs such as pipe organs, labyrinths and spires, her works recall Northern Renaissance painting and Gothic cathedrals, yet appear in a deteriorated state reminiscent of ruins of long past civilizations. “Ancient ruins are culturally nostalgic objects that carry with them a distinct psychological effect,” she has observed. “[The] cross-cultural attraction to ruins is itself fascinating.” Al-Hadid’s haunting, architecturally inspired sculptures and drawings have been shown in numerous international exhibitions. By presenting her large-scale sculptures, drawings and bronzes together for the first time, this publication highlights the innovative methods through which Al-Hadid recovers influential visual histories and advances them into contemporary times.

Individual Artists

Hatje Cantz

American artist Leonardo Drew (born 1961) creates large-scale sculptural installations incorporating both manipulated and found materials such as paper, wood, tree branches and roots, rust and mud. These materials are often stacked on top of one another, arranged in gradations of length or shape, endowing the sculpture itself with contrasting qualities of rigorous organization and organic chaos or proliferation. Drew has been making variations on this repetoire of humble materials since the 1970s, having had his first solo exhibition at the age of 13. With nearly 100 color reproductions of these works, this volume provides an overview of Drew's four-decade career, from the dramatic sculptures and installations of the 1980s and the enormous wall tableaux of the 1990s to the more fragile paper casts of the past decade.

Leonardo Drew

Cassel, Valerie

History & Criticism

Charta

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