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| | | | Anthony McCall: Face to FaceEdited by Marente Bloemheuvel, Jaap Guldemond.
A pioneer of light art and installation, British artist Anthony McCall (born 1946) explores the most basic properties of cinema—light and its projection. His earliest works of the 1970s were shot on film using an animation camera and shown using a 16mm film projector. Since 2004 they have been produced using digital animation, and shown using a digital projector. McCall's often epically scaled light projections are at once three-dimensional sculptures and ephemeral drawings in space; they have inspired an entire generation of artists working in film and installation. In this publication, which celebrates the artist's first exhibition in the Netherlands, McCall explains his cinematic sculptures in an interview, and his work is placed in both a historical and a contemporary context, supplemented by numerous installation shots, drawings and other documentation.
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FORMAT: Pbk, 6.5 x 8.5 in. / 144 pgs / 100 color.
LIST PRICE: U.S. $30.00
LIST PRICE: CANADA $40
ISBN: 9789462081758
PUBLISHER: nai010 publishers
AVAILABLE: 3/24/2015
DISTRIBUTION: D.A.P.
RETAILER DISC: FLAT40
PUBLISHING STATUS: Out of stock indefinitely
AVAILABILITY: Not available
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| Anthony McCall: Face to Face Published by nai010 publishers.
Edited by Marente Bloemheuvel, Jaap Guldemond. A pioneer of light art and installation, British artist Anthony McCall (born 1946) explores the most basic properties of cinema—light and its projection. His earliest works of the 1970s were shot on film using an animation camera and shown using a 16mm film projector. Since 2004 they have been produced using digital animation, and shown using a digital projector. McCall's often epically scaled light projections are at once three-dimensional sculptures and ephemeral drawings in space; they have inspired an entire generation of artists working in film and installation. In this publication, which celebrates the artist's first exhibition in the Netherlands, McCall explains his cinematic sculptures in an interview, and his work is placed in both a historical and a contemporary context, supplemented by numerous installation shots, drawings and other documentation.
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