Alison Wilding: Art School Drawings From The 1960S And 70S
Text by Peter Cartwright.
Rising to international prominence in the 1980s, Alison Wilding is known for her sculptures made of Perspex and stone. This catalogue presents 12 drawings from Alison Wilding’s art school years during the 1960s and early 1970s.
Coinciding with her exhibition of the same title at Karsten Schubert, London (2011), the first nine works – collectively referred to as the ‘Ethos of the Petrol Station’ drawings – were a response to a project during the artist’s time at Nottingham College of Art, Nottingham.
The final three works in the catalogue are from the artist’s time at the Royal College of Art, London, and were used as a tool for documenting and furthering her finished sculpture.
Taken together, the works provide a glimpse into her progress in the studio at that time and connecting the drawings not only to student sculptures, but also to drawings and sculptures made almost 40 years later.
in stock $15.00
Free Shipping
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
FORMAT: Pbk, 8.25 x 10.63 in. / 32 pgs / 14 color. LIST PRICE: U.S. $15.00 LIST PRICE: CANADA $24.95 ISBN: 9781905464456 PUBLISHER: Ridinghouse AVAILABLE: 8/1/2011 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Alison Wilding: Art School Drawings From The 1960S And 70S
Published by Ridinghouse. Text by Peter Cartwright.
Rising to international prominence in the 1980s, Alison Wilding is known for her sculptures made of Perspex and stone. This catalogue presents 12 drawings from Alison Wilding’s art school years during the 1960s and early 1970s.
Coinciding with her exhibition of the same title at Karsten Schubert, London (2011), the first nine works – collectively referred to as the ‘Ethos of the Petrol Station’ drawings – were a response to a project during the artist’s time at Nottingham College of Art, Nottingham.
The final three works in the catalogue are from the artist’s time at the Royal College of Art, London, and were used as a tool for documenting and furthering her finished sculpture.
Taken together, the works provide a glimpse into her progress in the studio at that time and connecting the drawings not only to student sculptures, but also to drawings and sculptures made almost 40 years later.
