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Paperback, 8 x 10.75 in. / 280 pgs / 292 color / 43 bw. PUBLISHING STATUS
Pub Date 2/1/2008
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ISBN 9783775720311 TRADE
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Not available | | BROWSE THE 2021 SPRING CATALOG  Preview our SPRING 2021 catalog, featuring more than 400 new books on art, photography, design, architecture, film, music and visual culture. |
| | | The Absence of Mark MandersEdited by Stephan Berg, Solveig Øvstebo, Philippe Van Cauteren, Mirjam Varadinis. Text by Stephan Berg, Douglas Fogle, Mark Manders, Mirjam Varadinis.
Dutch artist Mark Manders, born in 1968, has been devising sculptural installations since the late 1980s and exhibiting them as a fragmented self-portrait in the form of imaginary rooms. A veteran of solo exhibitions at such respected American venues as The Drawing Center in New York, the Berkeley Art Museum and The Art Institute of Chicago, he has established himself as one of the most distinctive and independent artists on today’s international sculpture scene. Beginning with the exemplary piece "Self-Portrait as a Building," created in 1986, Manders’ entire oeuvre can be understood as a large-scale attempt to translate his own existence and development into wordless, associative memory spaces. Chimneys, brick walls, oversized model rats, tables, chairs, newspapers and a plethora of small, personal objects are tweaked in scale and amassed as “still lives with broken moments.” This is the most significant appraisal of his work to date.
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FORMAT: Paperback, 8 x 10.75 in. / 280 pgs / 292 color / 43 b&w.
LIST PRICE: U.S. $55.00
LIST PRICE: CANADA $65
ISBN: 9783775720311
PUBLISHER: Hatje Cantz
AVAILABLE: 2/1/2008
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| The Absence of Mark Manders Published by Hatje Cantz.
Edited by Stephan Berg, Solveig Øvstebo, Philippe Van Cauteren, Mirjam Varadinis. Text by Stephan Berg, Douglas Fogle, Mark Manders, Mirjam Varadinis. | Dutch artist Mark Manders, born in 1968, has been devising sculptural installations since the late 1980s and exhibiting them as a fragmented self-portrait in the form of imaginary rooms. A veteran of solo exhibitions at such respected American venues as The Drawing Center in New York, the Berkeley Art Museum and The Art Institute of Chicago, he has established himself as one of the most distinctive and independent artists on today’s international sculpture scene. Beginning with the exemplary piece "Self-Portrait as a Building," created in 1986, Manders’ entire oeuvre can be understood as a large-scale attempt to translate his own existence and development into wordless, associative memory spaces. Chimneys, brick walls, oversized model rats, tables, chairs, newspapers and a plethora of small, personal objects are tweaked in scale and amassed as “still lives with broken moments.” This is the most significant appraisal of his work to date.
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