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Hardback, 8 x 11.25 in. / 64 pgs / 34 color / 6 bw. PUBLISHING STATUS
Pub Date 3/1/2008
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Catalog: SPRING 2008 p. 151 PRODUCT DETAILS
ISBN 9783905770872 TRADE
List Price: $30.00 CAD $40.00 GBP £19.00 AVAILABILITY
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WORLD Excl FR DE AU CH | EXHIBITION SCHEDULENew York
SI Swiss Institute, 05/30/06-07/15/06
New York
Bortolami Dayan, 06/29/06-09/02/06
New York
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| | | Philippe DecrauzatEdited by Lionel Bovier. Introduction by Bice Curiger. Text by Bob Nickas, Julien Fronsacq, Katia Garcia-Anton.
Though his works evoke 60s Op art, Swiss-born artist Philippe Decrauzat’s first reference is more likely to be the film Tron than Bridget Riley. Decrauzat works in a variety of media--wall painting, shaped canvases, sculpture, installations and works on paper, all of which evidence flat chromatics and complex geometric compositions. Stating, “I am not trying to build up a new theory about ideological issues regarding the historical content of abstraction. I am strongly involved in investigating the status of the image, in other words, indebted to practices trying to outline the critical tools developed by Conceptual and Op art,” Decrauzat clues us in to how his seemingly simple mix of appropriated imagery and techniques works. This is Decrauzat’s first monograph and includes an essay by critic and curator Bob Nickas.
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FORMAT: Hardback, 8 x 11.25 in. / 64 pgs / 34 color / 6 b&w.
LIST PRICE: U.S. $30.00
LIST PRICE: CANADA $40
GBP £19.00
ISBN: 9783905770872
PUBLISHER: JRP|Ringier
AVAILABLE: 3/1/2008
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: Out of stock
TERRITORY: WORLD Excl FR DE AU CH | D.A.P. CATALOG: SPRING 2008 Page 151 | PRESS INQUIRIES
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| Philippe Decrauzat Published by JRP|Ringier.
Edited by Lionel Bovier. Introduction by Bice Curiger. Text by Bob Nickas, Julien Fronsacq, Katia Garcia-Anton. Though his works evoke 60s Op art, Swiss-born artist Philippe Decrauzat’s first reference is more likely to be the film Tron than Bridget Riley. Decrauzat works in a variety of media--wall painting, shaped canvases, sculpture, installations and works on paper, all of which evidence flat chromatics and complex geometric compositions. Stating, “I am not trying to build up a new theory about ideological issues regarding the historical content of abstraction. I am strongly involved in investigating the status of the image, in other words, indebted to practices trying to outline the critical tools developed by Conceptual and Op art,” Decrauzat clues us in to how his seemingly simple mix of appropriated imagery and techniques works. This is Decrauzat’s first monograph and includes an essay by critic and curator Bob Nickas.
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