In Out of Place, noted LA-based art historian John C. Welchman offers a tour-de-force discussion of the first 25 years of Koen van den Broek’s work. The book is partly chronological, partly attentive to the genres, styles, media and concepts around which the artist has innovated, from painting to public space. Welchman unpacks a wide spectrum of references and allusions—to Mondrian, Malevich, Matisse, Rothko and many other modernist artists; to postwar photographies; to the art cinemas of the 1960s and ’70s; and to the history of freeways, interstates and the evolution of the singular urban fabrics of the United States. He offers exciting new accounts of the defining orientation of the first decade of van den Broek’s painting as it entered into pathbreaking pictorial dialogues with borders, shadows and cracks. The second part of the monograph takes up with a frankly surprising range of ideas and issues connected to figures, identities, landscape, ecology, appropriation, opera, and institutions … and to the striking material appurtenances of Formula 1 racing.

In Out of Place, noted LA-based art historian John C. Welchman offers a tour-de-force discussion of the first 25 years of Koen van den Broek’s work. The book is partly chronological, partly attentive to the genres, styles, media and concepts around which the artist has innovated, from painting to public space. Welchman unpacks a wide spectrum of references and allusions—to Mondrian, Malevich, Matisse, Rothko and many other modernist artists; to postwar photographies; to the art cinemas of the 1960s and ’70s; and to the history of freeways, interstates and the evolution of the singular urban fabrics of the United States. He offers exciting new accounts of the defining orientation of the first decade of van den Broek’s painting as it entered into pathbreaking pictorial dialogues with borders, shadows and cracks. The second part of the monograph takes up with a frankly surprising range of ideas and issues connected to figures, identities, landscape, ecology, appropriation, opera, and institutions … and to the striking material appurtenances of Formula 1 racing.