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| | | | Tony Cragg: In and Out of MaterialInterview 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.
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FORMAT: Hardcover, 6.75 x 9.5 in. / 288 pgs / 408 color.
LIST PRICE: U.S. $54.00
LIST PRICE: CANADA $65
ISBN: 9783865601308
PUBLISHER: Walther König, Köln
AVAILABLE: 3/1/2007
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA AU/NZ AFR | D.A.P. CATALOG: SPRING 2007 Page 70 | PRESS INQUIRIES
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| Tony Cragg: In and Out of Material 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.
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