Published by Moderne Kunst Nürnberg. Preface by Veit Görner. Text by Tony Cragg.
Since the early 1980s, the celebrated British-born sculptor Tony Cragg (born 1949) has demonstrated a virtuoso handling of a range of materials--marble, wood, glass, bronze and fiberglass--first exploring figurative and then abstract sculpture. Matrix looks at the continuity of his creative concerns over the past three decades, combining works from both phases.
Published by Silvana Editoriale. Text by Marco Franciolli, Guido Comis.
Tony Cragg (born 1949) is one of Britain’s leading contemporary sculptors, an explorer of metamorphosis and the fourth dimension in the otherwise static domain of sculpture. This catalogue accompanies a retrospective of Cragg’s work at the Museo d’Arte of Lugano, and gathers together over 40 sculptures and assemblages--some monumental in scope--and more than 100 drawings and etchings that reveal the creative processes behind his better-known pieces. A full presentation of Cragg’s career to date is provided here, from his early explorations of the metaphysics of the mundane in the late 1970s, to his more recent three-dimensional smears in space. Accompanied by a never-before-published interview with the artist and key insights into the logic behind such works as “Minster” and “Subcommittee,” this is a must-have book for anyone interested in the work and thought of a revolutionary sculptor.
Published by Walther König, Köln. Foreword by Henri Loyrette. Text by Tony Cragg, Catherine Grenier, Marie-Laure Bernadac. Interview by Marie-Laure Bernadac.
For his 2011 exhibition in I.M. Pei’s pyramid at the Louvre, British sculptor Tony Cragg installed an immense, swirling, red sun-like structure titled “Versus” at the pyramid’s heart. This volume presents this impressive work alongside eight new sculptures. It also includes an interview with and text by the artist, as well as critical commentary.
Published by Walther König, Köln. Text by Mina Loy, Jon Wood. Poems by Wallace Stevens, Robert Frost, Walt Whitman, Conrad Aiken, Howard Nemerov, W.H. Auden, Billy Collins.
It Is, It Isn’t juxtaposes reproductions of Tony Cragg’s swirling sculptures with a selection of those poems that have most affected his practice. From W.H. Auden to Walt Whitman, Billy Collins to Mina Loy, the poems Cragg has chosen collude with his works in wood, stainless steel, bronze and stone, highlighting the rhythmic and lyrical properties of both.
Tony Cragg (born 1949) is one of the boldest and most important sculptors of our time. His work is characterized by an immense formal repertoire, which since the 1980s has included transformations of everyday materials alongside traditional sculptural materials such as wood and brass. Second Nature was published to accompany an exhibition held at Staatliche Kunsthalle Karlsruhe and Museum der Moderne Monchsberg in 2009, and surveys 120 drawings and sculptures made in the past decade.
Published by JRP|Ringier/BSI Art Collection. Edited by Luca Cerizza. Text by Saretto Cincinelli.
Tony Cragg represented Britain at the 1988 Venice Biennale and took the next year's Turner Prize. He has had major solo shows at the Tate, Corcoran and Centre Georges Pompidou. This monograph on a series of site-specific commissions considers the notions of public collections versus private, and the relationship between artist and patron.
Published by Walther König, Köln. Interview by John Wood. Text by Tony Cragg, Christoph Brockhaus, Robert Kudielka, Christian Schneegass.
The future of sculpture has only just begun. Its potential is greater now than ever before, and its possibilities are just starting. Its language and its forms are just beginning to evolve. So says Tony Cragg, a believer not just in sculpture, but in freestanding, made-from-scratch abstraction. Cragg refuses to accept the domination of installation and the ready-made. His dedication to the form as he works in it--to its complexities, to its ability to interrogate the world and heighten our sensitivity--and his consistent espousal of that dedication, have given him an intriguing and unusual role in contemporary art. Cragg is a promoter of his medium in an age of anxiety about medium-based definitions, an age of crossover. There are plenty of words here, in an interview and three essays, but it's the sketches, watercolors, installation views, studio photographs and the sculptures themselves that make up the bulk of this new volume.
Published by Hopefulmonster. Edited by Olimpia Eberspacher. Introduction by Ludovico Pratesi. Interview by Ludovico Pratesi.
Granite, iron, steel, bronze, glass, wood, clay, plaster: Tony Cragg, one of the most widely exhibited and acclaimed British sculptors of his generation, has worked in each of these materials, examining, exposing and showcasing their properties in his often-huge, organically shaped works. This study of six works includes an interview and essays.
BOOK FORMAT Hardcover, 6.5 x 8.5 in. / 60 pgs / 7 color / 10 bw.
PUBLISHING STATUS PUB DATE 3/1/2007 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2007 p. 164
PRODUCT DETAILS ISBN 9788877572066TRADE LIST PRICE: $21.00 CDN $25.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Richter Verlag. Essays by David Batchelor, Lynne Cooke, Germano Celant, Danilo Eccher, Carla Schulz-Hoffmann, Mark Francis, Peter Schjeldahl and Ulrich Wilmes.
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.