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| | | | Francesc Torres: What Does History Know of Nail-Biting?An artist's book by Francesc Torres.
Barcelona-born, New York–based artist Francesc Torres (born 1948), a pioneer of installation art, is one of the most important European artists of his generation. In What Does History Know of Nail-Biting, which borrows its subtitle from Arthur Koestler’s Darkness at Noon, the artist explores a body of work made by Harry Randall, a photographer and filmmaker who was one of 3,500 Americans who joined the International Brigades to fight in the Spanish Civil War. Many of the so-called Abraham Lincoln Brigade did not make it home, but Randall did. Forty-five minutes of 16mm film, shot by Randall between 1937 and 1938, becomes the material for Torres’ new limited-edition artist’s book, which explores what history looks like outside of concrete historical events, trying to capture the fragmentation and confusion that silently seeps through the official narratives of history.
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FORMAT: Clth, 11.25 x 8.75 in. / 88 pgs / 58 color.
LIST PRICE: U.S. $55.00
LIST PRICE: CANADA $72.5
ISBN: 9788434313590
PUBLISHER: Ediciones Polígrafa
AVAILABLE: 3/28/2017
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
TERRITORY: NA Japan | D.A.P. CATALOG: SPRING 2017 Page 137 | PRESS INQUIRIES
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| Francesc Torres: What Does History Know of Nail-Biting? Published by Ediciones Polígrafa.
An artist's book by Francesc Torres. Barcelona-born, New York–based artist Francesc Torres (born 1948), a pioneer of installation art, is one of the most important European artists of his generation. In What Does History Know of Nail-Biting, which borrows its subtitle from Arthur Koestler’s Darkness at Noon, the artist explores a body of work made by Harry Randall, a photographer and filmmaker who was one of 3,500 Americans who joined the International Brigades to fight in the Spanish Civil War. Many of the so-called Abraham Lincoln Brigade did not make it home, but Randall did. Forty-five minutes of 16mm film, shot by Randall between 1937 and 1938, becomes the material for Torres’ new limited-edition artist’s book, which explores what history looks like outside of concrete historical events, trying to capture the fragmentation and confusion that silently seeps through the official narratives of history.
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