KSIĘGARNIA ARTYSTYCZNA BOOKOFF | UL. ŁUCKA 14 | 00-845 WARSZAWA | TEL. (22)[zasłonięte]253 62 | KOM. 503 [zasłonięte] 126

The Figurative Sculpture of Magdalena Abakanowicz: Bodies, Environments, and Myths

Dane książki
ISBN	978-[zasłonięte][zasłonięte]02312
Oprawa	Oprawa twarda
Ilość stron	176
Wydawnictwo	University of California Press
Język	Angielski

Cena: 194.00 PLN (wystawiamy faktury vat)

W celu obejrzenia książek zapraszamy do naszych księgarni w Warszawie:

Księgarnia Bookoff przy ul. Łuckiej 14 specjalizuje się w książkach i albumach fotograficznych.
Tel. (22)[zasłonięte]253 62 lub 503 [zasłonięte] 126

Księgarnia czynna jest w godzinach:
Pon-Pt, godz. 11-19
Sob, godz. 12-16

Księgarnia Muzeum Bookoff przy ul. Pańskiej 3 w Muzeum Sztuki Nowoczesnej. Specjalizuje się w dziedzinach którym poświęcona jest działalność Muzeum, czyli sztuce, projektowaniu graficznemu, architekturze oraz urbanistyce.
Tel. 512 [zasłonięte] 208


Książka do wglądu w Księgarni Muzeum Bookoff.

Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist to disclose the artistic, sociopolitical, and cultural context in which Abakanowicz has lived and worked.

Examining Abakanowicz's representations of the human body from the fiber works of the 1960s known as Abakansthrough her War Games and outdoor environments of the 1980s and early 1990s, Inglot shows how these works engage the international art scene and the figurative sculpture of postwar Poland, and how they reflect a particular generation's experience of war and communism. With reference to Abakanowicz's use of national symbols and ceremonies drawn from the public and political discourse of the 1970s and 1980s, Inglot explains the complexity of the artist's attitudes toward contemporary politics and the troubled history of her native country. Inglot clearly locates Abakanowicz as a major contemporary sculptor whose works have embodied innovations in style and media and reflected important sociopolitical issues.