Urban Walls : a Generation of Collage in Europe & America Brandon Taylor HC 2008

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Características del artículo

Estado
En muy buen estado: Libro que se ha leído y que no tiene un aspecto nuevo, pero que está en un ...
Type
Illustrated Book
Signed
No
Ex Libris
No
Narrative Type
Nonfiction
Personalized
No
Inscribed
No
Vintage
No
ISBN
9781555952884

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Product Identifiers

Publisher
Hudson Hills Press LLC
ISBN-10
1555952887
ISBN-13
9781555952884
eBay Product ID (ePID)
63656217

Product Key Features

Book Title
Urban Walls : a Generation of Collage in Europe and America
Number of Pages
184 Pages
Language
English
Publication Year
2008
Topic
Individual Artists / General, Mixed Media, History / General
Illustrator
Yes
Genre
Art
Author
Brandon Taylor
Format
Hardcover

Dimensions

Item Height
0.9 in
Item Weight
57.6 Oz
Item Length
12.2 in
Item Width
11 in

Additional Product Features

Intended Audience
Trade
LCCN
2008-003147
Dewey Edition
22
Dewey Decimal
702.81/2
Synopsis
An extensive look at the history of collage and its dialogue with the art of decollage, or ungluing of paper, in the 20th century with particular emphasis on such greats as Robert Rauschenberg and Burhan Dogancay., Burhan Dogancay with Francois Dufrene, Raymond Hains, Robert Rauschenberg, Mimmo Rotella, Jacques Villegle, Wolf Vostell. Having discovered urban walls as an inspiration when he first came to New York in the early 1960s, it has remained the central motif of Burhan Dogancay's art for nearly fifty years. His art, collage paintings created by bringing together layers of colorful posters, objects, graffiti and other materials collected from cities all over the world, communicates messages about contemporary life while also being studies in texture, shadow, color, and light. Pulling materials from his many travels over his lifetime, a poster from Sartre's play Huis Clos found in Paris in the 1950s, to fragments of graffiti from New York's Soho neighborhood, Dogancay's urban walls express the many moods of that moment in time and are an integral part of a cultural dialogue that occurred both in America and in post- War Europe as conditions arose that gave a new vigor to the art of collage and decollage, or ungluing of paper. Providing an extensive look at the history of collage and its relationship with the art of decollage, this title examines the movement through the work of some of its pivotal participants, artists such as Robert Rauschenberg, Mimmo Rotella, Francois Dufrene, Jacques Villegle and with this context is able to frame the work of New York-based, Turkish-born artist, Burhan Dogancay. As art historian Brandon Taylor writes, Dogancay differs from his contemporaries] somewhat as his art is an anthropological reflection that celebrates the urban surface as an already pictorial structure, the poetry he perceives at the level of the street is that of anonymity organizing itself as art., Having discovered urban walls as an inspiration when he first came to New York in the early 1960s, it has remained the central motif of Burhan Dogancay's art for nearly fifty years. His art, collage paintings created by bringing together layers of colorful posters, objects, graffiti and other materials collected from cities all over the world, communicates messages about contemporary life while also being studies in texture, shadow, color, and light. Pulling materials from his many travels over his lifetime, a poster from Sartre's play Huis Clos found in Paris in the 1950s, to fragments of graffiti from New York's Soho neighborhood, Dogançay's urban walls express the many moods of that moment in time and are an integral part of a cultural dialogue that occurred both in America and in post- War Europe as conditions arose that gave a new vigor to the art of collage and decollage, or ungluing of paper. Providing an extensive look at the history of collage and its relationship with the art of décollage, this title examines the movement through the work of some of its pivotal participants, artists such as Robert Rauschenberg, Mimmo Rotella, François Dufrene, Jacques Villegle and with this context is able to frame the work of New York-based, Turkish-born artist, Burhan Dogancay. As art historian Brandon Taylor writes, "Dogancay differs [from his contemporaries] somewhat as his art is an anthropological reflection that celebrates the urban surface as an already pictorial structure. The poetry he perceives at the level of the street is that of anonymity organizing itself as art." AUTHOR: Art historian Brandon Taylor brings his expertise as both Research Fellow in Contemporary Art at Southampton Solent University, Southampton, England and Visiting Scholar at the Getty Research Institute, Malibu, California, to the examination of this important medium.Thomas M. Messer is the Director Emeritus of the Solomon R. Guggenheim Foundation. 87 colour & 3 b/w illustrations, Burhan Dogancay with Francois Dufrene, Raymond Hains, Robert Rauschenberg, Mimmo Rotella, Jacques Villegle, Wolf Vostell. Having discovered urban walls as an inspiration when he first came to New York in the early 1960s, it has remained the central motif of Burhan Dogancay's art for nearly fifty years. His art, collage paintings created by bringing together layers of colorful posters, objects, graffiti and other materials collected from cities all over the world, communicates messages about contemporary life while also being studies in texture, shadow, color, and light. Pulling materials from his many travels over his lifetime, a poster from Sartre's play Huis Clos found in Paris in the 1950s, to fragments of graffiti from New York's Soho neighborhood, Dogancay's urban walls express the many moods of that moment in time and are an integral part of a cultural dialogue that occurred both in America and in post- War Europe as conditions arose that gave a new vigor to the art of collage and decollage, or ungluing of paper. Providing an extensive look at the history of collage and its relationship with the art of decollage, this title examines the movement through the work of some of its pivotal participants, artists such as Robert Rauschenberg, Mimmo Rotella, Francois Dufrene, Jacques Villegle and with this context is able to frame the work of New York-based, Turkish-born artist, Burhan Dogancay. As art historian Brandon Taylor writes, Dogancay differs [from his contemporaries] somewhat as his art is an anthropological reflection that celebrates the urban surface as an already pictorial structure, the poetry he perceives at the level of the street is that of anonymity organizing itself as art.
LC Classification Number
N6494.C6T395 2008

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