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| | | | Anthony Cragg: Sculpture 2001–2017Volume IVText by Demosthenes Davvetas, Patrick Elliott, Catherine Grenier, Jon Wood.
The fourth volume in the series documenting the sculpture of British artist Anthony Cragg (born 1949) covers his most recent sculptural oeuvre from 2001 to 2017, highlighting key bodies of work through an extensive selection of images. Guiding the reader chronologically through the genesis of Cragg’s most recent works and tracing the relationships between them, it also reveals the artist’s rigorous studio practice.
Since Cragg began working in the 1970s and came to fame in the 1980s as part of the New British Sculpture generation, his work has undergone a number of permutations while consistently remaining motivated by a fundamental concern with the qualities of his materials—whether they be found objects, raw materials or manufactured compounds like fiberglass.
Sculpture 2001–2017 follows Sculpture 1969–1985 and Sculpture 1986–2000. It includes essays by Demosthenes Davvetas, Patrick Elliott, Catherine Grenier and Jon Wood that shed new light on Cragg’s work.
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FORMAT: Hbk, 8.75 x 11.25 in. / 568 pgs / 500 color.
LIST PRICE: U.S. $69.95
LIST PRICE: CANADA $92.5
ISBN: 9783960981503
PUBLISHER: Walther König, Köln
AVAILABLE: 6/18/2019
DISTRIBUTION: D.A.P.
RETAILER DISC: FLAT40
PUBLISHING STATUS: Active
AVAILABILITY: In stock
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| Anthony Cragg: Sculpture 2001–2017
Volume IV Published by Walther König, Köln.
Text by Demosthenes Davvetas, Patrick Elliott, Catherine Grenier, Jon Wood. The fourth volume in the series documenting the sculpture of British artist Anthony Cragg (born 1949) covers his most recent sculptural oeuvre from 2001 to 2017, highlighting key bodies of work through an extensive selection of images. Guiding the reader chronologically through the genesis of Cragg’s most recent works and tracing the relationships between them, it also reveals the artist’s rigorous studio practice.
Since Cragg began working in the 1970s and came to fame in the 1980s as part of the New British Sculpture generation, his work has undergone a number of permutations while consistently remaining motivated by a fundamental concern with the qualities of his materials—whether they be found objects, raw materials or manufactured compounds like fiberglass.
Sculpture 2001–2017 follows Sculpture 1969–1985 and Sculpture 1986–2000. It includes essays by Demosthenes Davvetas, Patrick Elliott, Catherine Grenier and Jon Wood that shed new light on Cragg’s work.
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