Sculpture in the Sixties (Gallery Pangolin, London 22 March - 6 May 2017)

BIELECKA, Polly (essay) David Annesley, Michael Bolus, Ralph Brown, Anthony Caro, Lynn Chadwick, Geoffrey Clarke, Garth Evans, George Fullard, Nigel Hall, John Hoskin, Phillip King, Bryan Kneale, Liliane Lijn, Kim Lim, William Pye, Tim Scott, William Tucker, Brian Wall, Eduardo Paolozzi and others (artists shown)

ISBN 10: 0995621322 / ISBN 13: 9780995621329

Edité par Gallery Pangolin, London, 2017

A propos de cet article

4to in colour printed stiff card covers, 78pp on thick art paper, pp, colour plates, etc. Price list and errata leaf both loosely inserted . [CONDITION: NEW unread and unmarked copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

N° de réf. du vendeur T218332

Détails bibliographiques

• Titre: Sculpture in the Sixties (Gallery Pangolin, London 22 March - 6 May 2017)
• Éditeur: Gallery Pangolin, London
• Date de parution: 2017
• Langue: anglais
• ISBN à 10 chiffres: 0995621322
• ISBN à 13 chiffres: 9780995621329
• Reliure: SOFTCOVER
• Édition: 1st Edition.
• État de l'article: New

A propos de ce titre

Synopsis

Sculpture in the Sixties forms part of Pangolin London's series of museum quality exhibitions that re-engage and explore the history of British Sculpture.

Reacting against and building upon the huge leaps and bounds British sculpture made in the 1950's with the so called 'Geometry of Fear' artists, the 1960's saw sculpture released from the confines of the plinth where it explored new materials, bright colours and introduced minimalism.
With Anthony Caro leading the way, a new colourful abstract language began to be forged globally. Britain in particular played a potent role, with artists such as Phillip King and William Tucker being held in high esteem as key figures in what was soon to be known as the 'New Generation' of sculptors, a phrase coined at the Whitechapel Art Gallery exhibition of 1965.
Experimentation of new materials saw more artists move away from the figurative form into abstraction. This, tied with bold and vibrant colour, became a trademark of this new wave of sculpture. Huge abstract forms suspended in mid-air which appeared to defy the weight of their materials were not only radical and exciting but sparked a change in the behavior of how people interacted and viewed sculpture.