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.
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Germano Celant is Senior Curator of Contemporary Art at the Guggenheim Museum. He has published extensively on Robert Mapplethorpe and the rich art historical past referenced in the photographeris work.
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Seller: Zed Books, New York, NY, U.S.A.
Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 4to. 552 pp. Gray cloth. Near Fine in Near Fine dust jacket. Jacket mildly wrinkled at extremities, rubbing to rear panel. Toning to extremities of leaves. Seller Inventory # x07962
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Seller: art longwood books, Gloucester, MA, U.S.A.
Hard Cover. Condition: Very Good Plus. Dust Jacket Condition: Near Fine. First English Language Edition. cloth, hard cover in dust jacket. large and very heavy book., tiny black dot to bottom edge. faint aura of toning to some margins. gentle ripple to some edges. all low-level. no other flaws or wear. else, clean, no writing or text markings. no bumps, tears, chips. strong binding, hinges.; english text.; 552pp., 473 illustrations, most all in color. texts by 14 contributors, including the artist. catalogue and reference material. thorough, well illustrated. Size: 4to - over 9¾" - 12" tall. Exhibition Catalogue. Seller Inventory # 17467
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Seller: Studio Bibliografico Marini, ROMA, RM, Italy
Condition: 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. Seller Inventory # 0000000219255
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Hardcover. Condition: New. In shrink wrap. Looks like an interesting title!. Seller Inventory # Q-3933807891
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Couverture rigide. Condition: Comme neuf. Edition originale. Düsseldorf ,2004. Hardback , Quarto size . Reliure éditeur illustrée. Format in-4° ------ 552 pages . ********************* "" ************************** ref fav-08-75379. Seller Inventory # 20029615
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