Parkett No. 66 Angela Bulloch, Daniel Buren, Pierre Huyghe

FORMAT: Paperback, 8 x 10 in. / 300 pgs / illustrated throughout.
LIST PRICE: U.S. $32.00
LIST PRICE: CANADA $42.5
ISBN: 9783907582169
PUBLISHER: Parkett
AVAILABLE: 2/2/2003
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
TERRITORY: NA LA ASIA AU/NZ AFR ME

D.A.P. CATALOG: SPRING 2003

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Parkett No. 66 Angela Bulloch, Daniel Buren, Pierre Huyghe

Published by Parkett.
Artwork by Angela Bulloch, Daniel Buren. Edited by Pierre Huyghe.

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett No. 65 features collaborations with John Currin (United States), Laura Owens (United States) and Michael Raedecker (The Netherlands), three painters who apply their individual marks and styles to the traditions and techniques of painting. Currin's accomplished and alluring paintings of distorted and disfigured women and men, including portraits, genre scenes, and still-lifes, bring back the figurative in contemporary painting with an informed nod to art history. With her capacity for color and deft mark making, Owens takes the blank canvas and makes tantalizing paintings that lie somewhere between the abstract and the representational, all the while mastering the arrangement of space, form and color on a two-dimensional surface. Raedecker creates haunting paintings--landscapes, abstract and figurative, sometimes a bit of both--with the use of oils and thread and gothic colors imbued with a sense of the spiritual and the humorous. Parkett No. 66 features collaborations with Angela Bulloch (Canada), Daniel Buren (France) and Pierre Huyghe (France). Huyghe reassesses Conceptual art concerns by reinterpreting familiar films and themes in popular culture; he also draws on disregarded aspects of everyday life, such as time and alienation, and brings them back into our awareness. Bulloch's participatory sculptures explore the physical and psychological aspects of space by using simple light and sound effects that require the viewer's active participation. In the 1960s, Buren began producing works by using the striped cloth he calls “a seeing tool,” seeking a new way to make art exist outside the museum and gallery spaces that delimited its socializing capacity. Since then he has continued his striped works and remains one of France's most important and cherished living artists.

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