Figurative Sculpture of Magdalena Abakanowicz
Regular price
€83.99
14 days return policy
Shipping & Delivery
20th century polish art
20th century sculpture
A01=Joanna Inglot
abakans
art
artist
artistic context
Author_Joanna Inglot
burlap crowds
Category=AB
communism
crude
cultural context
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
fiber artist
fiber works
figurative sculpture
headless
hollow
human body
innovative
international art scene
isolation
magdalena abakanowicz
marta magdalena abakanowicz kosmowska
national symbols
outdoor environments
poland
polish sculptor
political discourse
postwar poland
sociopolitical context
textiles
war
war games
Product details
- ISBN 9780520231252
- Weight: 907g
- Dimensions: 216 x 279mm
- Publication Date: 30 Mar 2004
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Hardback
Secure
checkout
Fast Shipping
Easy returns
Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist to disclose the artistic, sociopolitical, and cultural context in which Abakanowicz has lived and worked. Examining Abakanowicz's representations of the human body from the fiber works of the 1960s known as Abakans through her War Games and outdoor environments of the 1980s and early 1990s, Inglot shows how these works engage the international art scene and the figurative sculpture of postwar Poland, and how they reflect a particular generation's experience of war and communism.
With reference to Abakanowicz's use of national symbols and ceremonies drawn from the public and political discourse of the 1970s and 1980s, Inglot explains the complexity of the artist's attitudes toward contemporary politics and the troubled history of her native country. Inglot clearly locates Abakanowicz as a major contemporary sculptor whose works have embodied innovations in style and media and reflected important sociopolitical issues.
Joanna Inglot is Associate Professor of Art History at the College of St. Catherine in St. Paul, Minnesota.
