The result is one of the most enjoyable and affecting academic studies you might hope to read. Ader was lost at sea in while sailing the Atlantic as part of a planned multifaceted work-in-three-parts entitled In Search of the Miraculous —. But Dumbadze also engages in a more general investigation into the relationship between an artist and his practice, using Ader as the quintessential case study. The slowed-down 16mm film shows the artist leaning slightly to his right, propelling himself forward; the chair scoots from beneath him and he begins his tumbling descent to the garden below. Is the film the work?
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Return to Book Page. He was bound for Falmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. The damaged boat was found south of the western tip of Ireland nearly a year later. Ader was never seen again. Since his untimely death, Ader has achieved mythic status in the art world as a figure literally willing to die for his art. The first in-depth study of this enigmatic conceptual artist, Bas Jan Ader is a thoughtful reflection on the necessity of the creative act and its inescapable relation to death.
Get A Copy. Hardcover , pages. More Details Other Editions 3. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Bas Jan Ader , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 4. Rating details. Sort order. Apr 14, Tosh rated it really liked it. I only came upon his work maybe 20 years ago, which is odd, because he was very much of a Los Angeles based conceptual artist.
A lot of work deals with space and falling - meaning that gravity itself pulls you down. On one level, he is sort of a Buster Keaton figure, but instead of laughter, his work is profoundly sad.
He has documented his "performances' in photogra I think partly due to the deaths of David Bowie and Tony Conrad, I felt great sorrow reading this book on the artist Bas Jan Ader. It's fascinating to know about his Los Angeles existence, and how he mixed in with other artists of that time and place.
He had one foot in Holland, and the other in Los Angeles. There is something very European about his work. Yet, I can see the Los Angeles side of his work as well. Place or location is always interesting or important. It is not actual locations, but the state of his mind or the state of his work and how that works within an American or Europan context.
The author Alexander Dumbadze does an excellent job in placing Ader's work in the context of s America as well as noting the mysterious aspect of his work.
On one level, it is quite emotional, due to his death by being lost in the sea. For an art project or was it? Which sounds crazy, but Ader was an experienced man of the high seas, so if anyone could have done this, he could.
Sadly he disappeared in the Atlantic Ocean. What I find interesting about his work, is that it does remind me of Keaton, who I think is the great American artist of the 20th century. So, that alone is quite moving - yet, we know he died a very young man, and therefore we're just capturing a moment of time of this artist.
He should have a longer career or life - because the work, although it hints of failure or even death, I don't think that is what his work is really about. I think he was working on something much longer or long-term, but alas, nature took him perhaps by surprise. There are no discussion topics on this book yet. Readers also enjoyed.
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Bas Jan Ader: Death Is Elsewhere
By Lilly Wei. Ader set sail in a tiny pocket cruiser, expecting to make landfall in Falmouth, England, in two to three months. The year-old artist was never seen again, although his boat was found approximately nine months later, to the south of the Irish coast. Speculations about his death were rife, ranging from a tragic accident to suicide to a secret vanishing into another identity. It was a departure so narratively seductive that it seemed scripted, destined for myth.
Although the Dutch-American artist Bas Jan Ader enjoys cult status in select artist circles—enhanced by the mystery of his disappearance at sea in at a youthful thirty-three—he remains little known in the mainstream art world, and thus occupies the strange position of being simultaneously overexposed and unrecognized. The twenty-four-second film Fall 1, Los Angeles , for example, shows Ader seated on a chair tumbling off the roof of a house, whereas the even shorter Fall 2, Amsterdam portrays the artist atop a bicycle veering into a Dutch canal. Dumbadze ultimately maintains that the fall works should be understood as articulations of the philosophical positions regarding free will and determinism as proposed by Albert Camus and Hannah Arendt. Because the text trails off in each subsection rather than coming to a conclusion, this central issue feels perpetually and unsatisfactorily unresolved.