Eva Rothschild’s large-scale sculptural compositions explore relationships between surface and structure whilst testing the boundaries between the abstract and figurative.
Accompanying a solo exhibition at Dublin City Gallery The Hugh Lane, Dublin (23 May–21 September 2014), this volume features a number of recent sculptures by the Irish-born artist alongside a series of photographic portraits of gallery visitors holding snakes.
Using diverse materials, such as wood, steel and fibreglass, Rothschild investigates sculptural form by testing the limits of those materials. With references to Minimalism and Constructivism, Rothschild’s work aims to invert Modernism’s forms and question its utopian ideas.
Alongside full-colour illustrations, this volume includes texts by Brian Dillon and Michael Dempsey which closely examine Rothschild’s installation at the gallery and her ties to broader art history.
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FORMAT: Pbk, 9.5 x 13 in. / 96 pgs / 40 color. LIST PRICE: U.S. $32.00 LIST PRICE: CANADA $45 ISBN: 9781905464913 PUBLISHER: Ridinghouse AVAILABLE: 10/1/2014 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by Ridinghouse. Edited by Michael Dempsey.
Eva Rothschild’s large-scale sculptural compositions explore relationships between surface and structure whilst testing the boundaries between the abstract and figurative.
Accompanying a solo exhibition at Dublin City Gallery The Hugh Lane, Dublin (23 May–21 September 2014), this volume features a number of recent sculptures by the Irish-born artist alongside a series of photographic portraits of gallery visitors holding snakes.
Using diverse materials, such as wood, steel and fibreglass, Rothschild investigates sculptural form by testing the limits of those materials. With references to Minimalism and Constructivism, Rothschild’s work aims to invert Modernism’s forms and question its utopian ideas.
Alongside full-colour illustrations, this volume includes texts by Brian Dillon and Michael Dempsey which closely examine Rothschild’s installation at the gallery and her ties to broader art history.
