An Excess of Quiet: Selected Sketches by Gustavo Ojeda, 1979-1989 - by Gabriel Ojeda-Sagué & Erich Kessel (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br>"Cuban American painter Gustavo Ojeda (1958-1989) was known primarily for his lush and meditative urban nightscapes, which brought him notoriety in the legendary downtown New York art scene of the 1980s. He exhibited alongside artists like Jean-Michel Basquiat, Keith Haring, David Wojnarowicz, Tom Bianchi, and Luis Frangella, before passing away from AIDS-related complications in 1989, just two weeks shy of his 31st birthday. Ojeda's exhibited paintings were notably unpopulated; in his private sketch practice, however, Ojeda complemented and opposed his painting by fixating on the people of New York, filling thousands of pages with disembodied faces, the bodies of sleeping people riding public transportation, and the movement of people within urban space. The selection of sketches presented here showcases Ojeda's enormous productivity not through his most known work but rather through his most private work. In the margins of his sketchbooks, Ojeda often wrote that he felt anxious about his productivity, shaming himself for not being able to paint more before his death. An Excess of Quiet answers Ojeda's worries with the recovery of what was always right in front of him, his most obsessive and tender artistic practice, rendered with adept craftsmanship and rapt attention"--<p/><br></br><p><b> Book Synopsis </b></p></br></br><p><strong>A revelatory trove of Gustavo Ojeda's previously unseen 1980s drawings of New Yorkers in motion</strong></p><p>Cuban American painter Gustavo Ojeda (1958-89) was known primarily for his lush and meditative urban nightscapes, which brought him notoriety in the 1980s downtown New York art scene. He exhibited alongside artists such as Jean-Michel Basquiat, Keith Haring and David Wojnarowicz, before dying from AIDS-related complications in 1989, just two weeks shy of his 31st birthday. <p/>Ojeda's paintings were notably unpopulated; in his private sketches, however, Ojeda fixated on the people of New York, filling thousands of pages with disembodied faces, the bodies of sleeping people riding public transportation and on the street. <p/>In the margins of his sketchbooks, Ojeda often wrote that he felt anxious about his productivity, shaming himself for not being able to paint more. <i>An Excess of Quiet</i> answers Ojeda's worries with the recovery of what was always right in front of him, his most obsessive and tender practice.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>[Gustavo] Ojeda's drawings perform a high-wire act, crossing and recrossing from abstraction into figuration and back again with... alacrity, finesse, and resolve.--Johnathan D. Katz "Associate professor at the University of Pennsylvania"<br><br>In these sketches of New York City in the 1980s... [o]ne suddenly becomes aware of the tension in the tine of a fork, or in the arc of a streetlamp.--Sianne Ngai "Author of Ugly Feelings"<br>
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