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| | | | Richard Deacon: What You See Is What You GetEdited with text by Ariel Plotek. Foreword by Roxana Velásquez. Text by Robin Clark. Interview by Anita Feldman.
 Among the artists who redefined British sculpture in the 1980s, Richard Deacon (born 1949) remains a pioneering figure. This book presents the full range of the artist’s oeuvre, from freestanding sculptures and wall-mounted works to glazed ceramics and works on paper. Deacon sidesteps the issue of technique: nails, screws and mounts are not hidden in his sculptures, and willowy bent-wood pieces contrast with carefully engineered constructions in galvanized steel and welded polycarbonate.
Like the tension in so many of Deacon’s titles, this book suggests a paradox. As with the whole of the artist’s oeuvre, the selection in this book—spanning more than 30 years—is based on contradictions: the tension between a word and its meaning.
Featured image is reproduced from 'Richard Deacon: What You See Is What You Get.' |
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|  | THE SAN DIEGO MUSEUM OF ARTISBN: 9780937108550
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FORMAT: Hbk, 8.5 x 10.5 in. / 112 pgs / 99 color.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $47.5
GBP £30.00
ISBN: 9780937108550
PUBLISHER: The San Diego Museum of Art
AVAILABLE: 5/23/2017
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: Out of stock
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| Richard Deacon: What You See Is What You Get Published by The San Diego Museum of Art.
Edited with text by Ariel Plotek. Foreword by Roxana Velásquez. Text by Robin Clark. Interview by Anita Feldman. Among the artists who redefined British sculpture in the 1980s, Richard Deacon (born 1949) remains a pioneering figure. This book presents the full range of the artist’s oeuvre, from freestanding sculptures and wall-mounted works to glazed ceramics and works on paper. Deacon sidesteps the issue of technique: nails, screws and mounts are not hidden in his sculptures, and willowy bent-wood pieces contrast with carefully engineered constructions in galvanized steel and welded polycarbonate.
Like the tension in so many of Deacon’s titles, this book suggests a paradox. As with the whole of the artist’s oeuvre, the selection in this book—spanning more than 30 years—is based on contradictions: the tension between a word and its meaning.
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