3D Warhol - Evans, Thomas Morgan
31,99 €
inkl. MwSt.
Versandkostenfrei*
Versandfertig in über 4 Wochen
payback
16 °P sammeln
  • Broschiertes Buch

Rain machines; alarmed kosher pickle jars filled with gemstones; replica corn flakes boxes; 'disco decor'; time capsules; art bombs; birthday presents; perfume bottles and floating silver pillows that are clouds; paintings that are also films; museum interventions; collected and curated projects; expanded performance environments; holograms. This is a book about the vast array of sculptural work made by Andy Warhol between 1954 and 1987 - a period that begins long before the first Pop paintings and ends in the year of his death. In 3D Warhol, Thomas Morgan Evans argues that Warhol's engagement…mehr

Andere Kunden interessierten sich auch für
Produktbeschreibung
Rain machines; alarmed kosher pickle jars filled with gemstones; replica corn flakes boxes; 'disco decor'; time capsules; art bombs; birthday presents; perfume bottles and floating silver pillows that are clouds; paintings that are also films; museum interventions; collected and curated projects; expanded performance environments; holograms. This is a book about the vast array of sculptural work made by Andy Warhol between 1954 and 1987 - a period that begins long before the first Pop paintings and ends in the year of his death. In 3D Warhol, Thomas Morgan Evans argues that Warhol's engagement with sculpture, and traditional notions of sculpture, produced 'trespasses', his sculptural work bisected the expectations, allegiances and values within art historical, and ultimately social sites of investitute (or territories). This groundbreaking, original book brings to the forefront a major, but overlooked aspect of Warhol's oeuvre, providing an essential new perspective on the artist's legacy.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Autorenporträt
Thomas Morgan Evans is a Henry Moore Post-Doctoral Fellow. He has a PhD in art history from University College London and has taught there and at the Courtauld Institute of Art. He has written criticism for Art History and The Burlington Magazine, and has worked for the Tate, the ICA and for LUX.
Rezensionen
The value of the sourcebook is considerable for those interested in the philosophical development and historical practice of the IWMA. Marx & Philosophy Society