Tony Cragg Paysage Suisse (Swiss Landscape) 1983 Painted wood in 42 parts. Approximate installation dimensions: 210 x 320 cm. (82 3/4 x 126 in). Signed and dated 'T. CRAGG "Paysage Suisse" 1983' on the installation template.
Provenance Galerie Buchmann, Basel Exhibited Basel, Galerie Buchman, Tony Cragg Zwei Landschaften, 1983 Literature A. Wildermuth, Tony Cragg Zwei Landschaften, Basel, 1983, p. 9 (illustrated) Catalogue Essay 'Cragg's materials were commonplace, low in value and overlooked. Even if his art occupied a space no more public than the museum, it was nonetheless a new view of the world from street level, as close to a public art as was possible at the moment. His work showed that a threshold had been crossed which made many of the debates defining the 1960s obsolete. Modernism's fear of the theatrical is not an issue, and minimalism's determination to maintain human scale while avoiding anthropomorphic overtones has been reversed, so that scale becomes monumental and the work openly figurative. This gives Cragg's work the character of a public statement.' (Andrew Casey as quoted in C. Lichtenstern, Tony Cragg's Extension of the Figure, The Emancipation from the Statis to Kinaesthetic Perception, in exhibition catalogue, Museum der Moderne Salzburg, Tony Cragg Second Nature, Salburg, 2009, p. 233) Read More
Tony Cragg Paysage Suisse (Swiss Landscape) 1983 Painted wood in 42 parts. Approximate installation dimensions: 210 x 320 cm. (82 3/4 x 126 in). Signed and dated 'T. CRAGG "Paysage Suisse" 1983' on the installation template.
Provenance Galerie Buchmann, Basel Exhibited Basel, Galerie Buchman, Tony Cragg Zwei Landschaften, 1983 Literature A. Wildermuth, Tony Cragg Zwei Landschaften, Basel, 1983, p. 9 (illustrated) Catalogue Essay 'Cragg's materials were commonplace, low in value and overlooked. Even if his art occupied a space no more public than the museum, it was nonetheless a new view of the world from street level, as close to a public art as was possible at the moment. His work showed that a threshold had been crossed which made many of the debates defining the 1960s obsolete. Modernism's fear of the theatrical is not an issue, and minimalism's determination to maintain human scale while avoiding anthropomorphic overtones has been reversed, so that scale becomes monumental and the work openly figurative. This gives Cragg's work the character of a public statement.' (Andrew Casey as quoted in C. Lichtenstern, Tony Cragg's Extension of the Figure, The Emancipation from the Statis to Kinaesthetic Perception, in exhibition catalogue, Museum der Moderne Salzburg, Tony Cragg Second Nature, Salburg, 2009, p. 233) Read More
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
