Tony Cragg. Signs of life. Catalogo della mostra tenutasi presso il MACRO - Museo d'Arte Contemporanea, Roma 6 giugno - 7 settembre 2003. 474 illustrazioni a colori. Alcune fotografie in bianco e nero. Introduzione di Kay Heymer. Testi di Germano Celant, Mark Francis, Peter Schjedahl, Demosthenes Davvetas, Danilo Eccher, Catherine Grenier et al. Catalogo delle opere esposte, biografia, Bibliografia. Edizione in inglese e italiano Design di Neil Holt, Colonia 4to (cm 28,5 x 23). pp. 552. . Ottimo (Fine). . . . Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands. Tony Cragg inizieograve; la sua educazione artistica nel 1969, un periodo in cui minimalismo, land art, arte concettuale e arte povera erano freschi e presenti. Quei movimenti segnarono i suoi inizi artistic
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Zustand: Ottimo (Fine). Catalogo della mostra tenutasi presso il MACRO - Museo d'Arte Contemporanea, Roma 6 giugno - 7 settembre 2003. 474 illustrazioni a colori. Alcune fotografie in bianco e nero. Introduzione di Kay Heymer. Testi di Germano Celant, Mark Francis, Peter Schjedahl, Demosthenes Davvetas, Danilo Eccher, Catherine Grenier et al. Catalogo delle opere esposte, biografia, Bibliografia. Edizione in inglese e italiano Design di Neil Holt, Colonia. 4to (cm 28,5 x 23). pp. 552. . Ottimo (Fine). . . . Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands. Tony Cragg iniziò la sua educazione artistica nel 1969, un periodo in cui minimalismo, land art, arte concettuale e arte povera erano freschi e presenti. Quei movimenti segnarono i suoi inizi artistici, e quindi nelle sue prime opere Cragg iniziò con materiali trovati, che impilò, ammucchiò o sparse sul pavimento in modo da studiare e analizzare le loro proprietà. Per catturare le forme di vasi e cellule - inteso come metafora di qualsiasi organismo biologico - usò materiali tradizionali come ghisa, bronzo, vetro o pietra. Più recentemente, il suo interesse è stato sempre più diretto a convertire un'idea in numerose varianti. Ad esempio, nella serie Early Forms, le forme interne ed esterne diventano sempre più complesse; in Rational Beings, la forma scultorea diventa sempre più volumetrica e statuaria. Alla fine, le sculture di Cragg non possono mai essere classificate in modo inequivocabile; appaiono come creature sensuali, poetiche, mutevoli e paradossali. La presente indagine accademica sul lavoro di Cragg distingue aspetti sistematici e cronologici, riflette sul modo di lavorare e sulle risorse materiali e rende apparenti associazioni, interconnessioni e fili evolutivi. Rilegato tela, sovracoperta (cloth, dust jacket). Book. Bestandsnummer des Verkäufers 0000000219255
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Couverture rigide. Zustand: Comme neuf. Edition originale. Düsseldorf ,2004. Hardback , Quarto size . Reliure éditeur illustrée. Format in-4° ------ 552 pages . ********************* "" ************************** ref fav-08-75379. Bestandsnummer des Verkäufers 20029615
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