This career-spanning publication focuses on the history of Tony Cragg’s (born 1949) Stack works that began in the late 1960s, when, as a student, he began piling up miscellaneous and recycled detritus from the studio in order to create large rectilinear sculptures that refuted the usual clean lines of minimalism.
Published by Walther König, Köln. Text by Tony Cragg, Frank Tschentscher, Jon Wood.
In Micro, the British sculptor (born 1949) offers a unique perspective on the materials of the artist. Using microscopic technology, Cragg photographs artist's tools such as paper and pens, materials such as limestone, marble and diabase, and the most vital artist tool of all, the body.
Published by Walther König, Köln. Text by Lewis Biggs, Germano Celant, Lynne Cooke, Demosthenes Dawetas, Catherine Grenier, Thomas Mc Evilley, Peter Schjeldahl, Jon Wood.
Between 1986 and 2000, Anthony Cragg (born 1949) transitioned from making sculptures using found objects to a more studio-based practice in which the found materials themselves became the subject and content of his sculptures. This publication begins where the previous volume, Sculpture 1969–1985, left off.
Published by Walther König, Köln. Text by Germano Celant, Demosthenes Davvetas, Mark Francis, Michael Newman, Jon Wood.
The second volume in the series documenting the works of British artist Anthony Cragg (born 1949) covers his sculptural oeuvre from 1969 to 1985, highlighting key bodies of work and exhibitions through an extensive selection of images.
Published by Silvana Editoriale. Text by Jorge Antonio Fernanadez Torres, Beate Reifenscheid.
This publication accompanies an exhibition of British sculptor Tony Cragg's (born 1949) latest sculptures and never-before-seen drawings and watercolors at the Ludwig Museum in Koblenz. Over the last 30 years, Cragg has developed an inexhaustible repertoire of forms and shapes that he continually adapts in his artistic practice.
Published by Walther König, Köln. Introduction by André Buchmann.
Over the past 30 years, Tony Cragg (born 1949) has created an impressive oeuvre of drawings and prints alongside his major sculptural works. This publication, the first in a five-volume edition, offers a comprehensive exploration of his drawings, watercolors, gouaches and prints.
Published by Walther König, Köln. Edited by Gerhard Finckh. Text by Germano Celant, Lynn Cooke, Peter Schjeldahl, Jon Wood, Thomas McEvilley.
Since British sculptor Anthony Cragg (born 1949) 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. From his early installations featuring modest arrangements of found objects to his recent sculptural forms that look like natural accretions experiencing computer glitches, Cragg remains deeply committed to material and to sculpture.
Cragg’s work is immensely varied, encompassing drawing, sketching, modeling and photography, as well as the production of finished sculptures. All these elements of Cragg’s oeuvre are accounted for in Anthony Cragg: Parts of the World, the artist’s first retrospective monograph. Objects are arranged in roughly chronological order, and supplemented by texts drawn from the same chronological span, allowing the reader to reconstruct a history of Cragg’s reception as well as his artistic production. Including texts by Germano Celant, Lynn Cooke, Peter Schjeldahl and Thomas McEvilley written since the 1980s, Anthony Cragg: Parts of the World concludes in the present, with an essay by Jon Wood and a recent interview with the artist.
Ralph Goertz's 40-minute documentary (in German with English subtitles) accompanies British sculptor Tony Cragg (born 1949) in his studio, where he introduces his working processes, and at his major 2016 retrospective at the Von der Heydt-Museum Wuppertal in Germany.
Published by Moderne Kunst Nürnberg. Preface by Veit Görner. Text by Tony Cragg.
Since the early 1980s, the celebrated British-born sculptor Tony Cragg (born 1949) has demonstrated a virtuoso handling of a range of materials--marble, wood, glass, bronze and fiberglass--first exploring figurative and then abstract sculpture. Matrix looks at the continuity of his creative concerns over the past three decades, combining works from both phases.
Published by Silvana Editoriale. Text by Marco Franciolli, Guido Comis.
Tony Cragg (born 1949) is one of Britain’s leading contemporary sculptors, an explorer of metamorphosis and the fourth dimension in the otherwise static domain of sculpture. This catalogue accompanies a retrospective of Cragg’s work at the Museo d’Arte of Lugano, and gathers together over 40 sculptures and assemblages--some monumental in scope--and more than 100 drawings and etchings that reveal the creative processes behind his better-known pieces. A full presentation of Cragg’s career to date is provided here, from his early explorations of the metaphysics of the mundane in the late 1970s, to his more recent three-dimensional smears in space. Accompanied by a never-before-published interview with the artist and key insights into the logic behind such works as “Minster” and “Subcommittee,” this is a must-have book for anyone interested in the work and thought of a revolutionary sculptor.
BOOK FORMAT Paperback, 9.75 x 11.25 in. / 160 pgs / 150 color.
PUBLISHING STATUS Pub Date 10/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 108
PRODUCT DETAILS ISBN 9788836622498TRADE List Price: $45.00 CDN $55.00
Published by Walther König, Köln. Text by Mina Loy, Jon Wood. Poems by Wallace Stevens, Robert Frost, Walt Whitman, Conrad Aiken, Howard Nemerov, W.H. Auden, Billy Collins.
It Is, It Isn’t juxtaposes reproductions of Tony Cragg’s swirling sculptures with a selection of those poems that have most affected his practice. From W.H. Auden to Walt Whitman, Billy Collins to Mina Loy, the poems Cragg has chosen collude with his works in wood, stainless steel, bronze and stone, highlighting the rhythmic and lyrical properties of both.
Published by Walther König, Köln. Foreword by Henri Loyrette. Text by Tony Cragg, Catherine Grenier, Marie-Laure Bernadac. Interview by Marie-Laure Bernadac.
For his 2011 exhibition in I.M. Pei’s pyramid at the Louvre, British sculptor Tony Cragg installed an immense, swirling, red sun-like structure titled “Versus” at the pyramid’s heart. This volume presents this impressive work alongside eight new sculptures. It also includes an interview with and text by the artist, as well as critical commentary.
Tony Cragg (born 1949) is one of the boldest and most important sculptors of our time. His work is characterized by an immense formal repertoire, which since the 1980s has included transformations of everyday materials alongside traditional sculptural materials such as wood and brass. Second Nature was published to accompany an exhibition held at Staatliche Kunsthalle Karlsruhe and Museum der Moderne Monchsberg in 2009, and surveys 120 drawings and sculptures made in the past decade.
Published by Hopefulmonster Editore. Edited by Olimpia Eberspacher. Introduction by Ludovico Pratesi. Interview by Ludovico Pratesi.
Granite, iron, steel, bronze, glass, wood, clay, plaster: Tony Cragg, one of the most widely exhibited and acclaimed British sculptors of his generation, has worked in each of these materials, examining, exposing and showcasing their properties in his often-huge, organically shaped works. This study of six works includes an interview and essays.
PUBLISHER Hopefulmonster Editore
BOOK FORMAT Hardcover, 6.5 x 8.5 in. / 60 pgs / 7 color / 10 bw.
PUBLISHING STATUS Pub Date 3/1/2007 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 164
PRODUCT DETAILS ISBN 9788877572066TRADE List Price: $21.00 CDN $25.00
Published by Walther König, Köln. Interview by John Wood. Text by Tony Cragg, Christoph Brockhaus, Robert Kudielka, Christian Schneegass.
The future of sculpture has only just begun. Its potential is greater now than ever before, and its possibilities are just starting. Its language and its forms are just beginning to evolve. So says Tony Cragg, a believer not just in sculpture, but in freestanding, made-from-scratch abstraction. Cragg refuses to accept the domination of installation and the ready-made. His dedication to the form as he works in it--to its complexities, to its ability to interrogate the world and heighten our sensitivity--and his consistent espousal of that dedication, have given him an intriguing and unusual role in contemporary art. Cragg is a promoter of his medium in an age of anxiety about medium-based definitions, an age of crossover. There are plenty of words here, in an interview and three essays, but it's the sketches, watercolors, installation views, studio photographs and the sculptures themselves that make up the bulk of this new volume.
Published by JRP|Ringier/BSI Art Collection. Edited by Luca Cerizza. Text by Saretto Cincinelli.
Tony Cragg represented Britain at the 1988 Venice Biennale and took the next year's Turner Prize. He has had major solo shows at the Tate, Corcoran and Centre Georges Pompidou. This monograph on a series of site-specific commissions considers the notions of public collections versus private, and the relationship between artist and patron.
Published by Richter Verlag. Essays by David Batchelor, Lynne Cooke, Germano Celant, Danilo Eccher, Carla Schulz-Hoffmann, Mark Francis, Peter Schjeldahl and Ulrich Wilmes.
Tony Cragg embarked on his fine art education in 1969, a time when Minimalism, Land Art, Conceptual Art, and Arte Povera were fresh and present. Those movements marked his artistic beginnings, and thus in his earliest works Cragg started out with found materials, which he stacked, heaped, or spread on to the floor so as to study and analyze their properties. To capture the receptacle forms of vessels and cells--understood as a metaphor for any biological organism--he used traditional materials such as cast iron, bronze, glass, or stone. More recently, his interest has been increasingly directed at converting one idea into numerous variations. For instance, in the Early Forms series, the inner and outer forms become ever more complex; in Rational Beings, the sculptural form becomes ever more volumetric and statuesque. In the end, Cragg's sculptures can never be unambiguously classified; they appear as sensual, poetic creatures, mutable and paradoxical. This present scholarly survey of Cragg's work distinguishes systematic and chronological aspects, reflects on ways of working and material resources, and makes apparent associations, interconnections, and evolutionary strands.