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| | | | André Cadere: Peinture Sans FinEdited by Karola Grässlin, Astrid Ihle, Fabrice Hergott. Text by Alexander von Grevenstein, Karola Grässlin, Fabrice Hergott.
This first book in a two-volume set contains documentation of works from 1971 to 1978 by the key Polish-born, Paris-based Minimalist and Conceptualist, André Cadere--who died in 1978 at the age of 45. (The second volume, sold separately, is a catalogue raisonné.) Best known for his 1970s Barres de bois rond, wooden bars made of painted cylindrical segments, Cadere regularly upended the status quo by bringing his staff-like sculptural works to openings for other artists that he admired or was close to, such as Robert Ryman or Barnett Newman--whether he was invited to do so or not. The bars inevitably conveyed such strong presence that they intervened with the shows, simultaneously disturbing and initiating discussions on the system of art. This invaluable reference book is divided into historical exhibition views, invitation cards designed by Cadere and photos and stills of his cult-legendary performances.
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FORMAT: Pbk, 8.5 x 10.75 in. / 166 pgs / 43 color / 98 b&w.
LIST PRICE: U.S. $54.00
LIST PRICE: CANADA $65
ISBN: 9783865603579
PUBLISHER: Walther König, Köln
AVAILABLE: 9/1/2008
DISTRIBUTION: D.A.P.
RETAILER DISC: FLAT40
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA ASIA AFR | D.A.P. CATALOG: SPRING 2009 Page 190 | PRESS INQUIRIES
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| André Cadere: Peinture Sans Fin Published by Walther König, Köln.
Edited by Karola Grässlin, Astrid Ihle, Fabrice Hergott. Text by Alexander von Grevenstein, Karola Grässlin, Fabrice Hergott. This first book in a two-volume set contains documentation of works from 1971 to 1978 by the key Polish-born, Paris-based Minimalist and Conceptualist, André Cadere--who died in 1978 at the age of 45. (The second volume, sold separately, is a catalogue raisonné.) Best known for his 1970s Barres de bois rond, wooden bars made of painted cylindrical segments, Cadere regularly upended the status quo by bringing his staff-like sculptural works to openings for other artists that he admired or was close to, such as Robert Ryman or Barnett Newman--whether he was invited to do so or not. The bars inevitably conveyed such strong presence that they intervened with the shows, simultaneously disturbing and initiating discussions on the system of art. This invaluable reference book is divided into historical exhibition views, invitation cards designed by Cadere and photos and stills of his cult-legendary performances.
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