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.

About the Authors

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.

Art critic Danilo Eccher was director of the Galleria Civica di Arte Contemporanea in Trento from 1989 to 1995, and the Galleria diArte Moderna in Bologna from 1996 to 2000. He has edited several titles including Gilbert & George and Boltanski.

Peter Schjeldahl is an art critic for The New Yorker.

Lynne Cooke has been curator at the Dia Center for the Arts since 1991. She has written and edited several volumes on contemporary art and has lectured widely on the topic throughout the world.

"About this title" may belong to another edition of this title.

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