Description:This is an ex-library book and may have the usual library/used...This is an ex-library book and may have the usual library/used-book markings inside. This book has soft covers. In fair condition, suitable as a study copy., 1050grams, ISBN: 1870814967.
Description:Fine. No dust jacket as issued. First edition, first printing....Fine. No dust jacket as issued. First edition, first printing. Soft cover. Photographically illustrated French-fold wrappers; no dust jacket as issued. Sculpture by Langlands & Bell. Text in English and German. Essay by Germano Celant. Interview with the artists by Hans-Michael Herzog. Includes a biography, bibliography and a catalogue of works. 148 pp., with four-color plates throughout. 10-3/4 x 9 inches. Published on the occasion of an exhibition at Serpentine Gallery, which traveled to other venues. CONDITION: Fine.
Description:Fine. This mint, paperback catalogue, Serpentine Art Gallery,...Fine. This mint, paperback catalogue, Serpentine Art Gallery, London, 1996 has matt pictorial covers. The book size is 9"w x 11" h with a biography, a bibliography and 148 pages on high quality paper. Inlaid is a copy of the Serpentine exhibition guide. It is well illustrated throughout and the text is in English and German. ISBN 1870814967. "Architecture has always been a compelling subject for artists. The desire to develop and perfect urban design, usually based on simple geometric forms has not been limited to a particular period but is found throughout art history. Behind the harmony and beauty of 'ideal' architecture lie a set of cultural concepts and beliefs. Primarily, it is the concept that architecture is not only an expression of ideas and needs, but also a means to control and improve people's lives: "we shape our buildings and thereafter they shape us", as LANGLANDS & BELL have reiterated. Ben Langlands and Nikki Bell are British artists born in London (in 1955 and 1959), who since 1978 have lived and worked together. Some of their works take their inspiration from their immediate environment in the East End of London, and some, like INTERLOCKING CHAIRS and CONVERSATION SEAT, may be seen as self-portraits of the collaborative couple. Yet their work tends to suggest a distance from private experience and a strong affinity with Modernist aesthetics in art and architecture, emphasising aspects of order, arrangement and communication at social and political levels. BURNT TABLE (1996) explores the idea that the table is primarily a site for human communication. Its circular shape suggests equality and reflects the ideal of the perfect form that was once thought to be divine. The notion that certain geometrical orders are eternal and sacred has been the essence of religious architecture of different faiths and periods. LANGLANDS & BELL amplify this concept in their wall pieces, by making models and whitened plans of buildings in relief. This representational technique shows architecture in its ideal state, as an abstract concept rather than depicting the way that we actually experience buildings. It also provides a unity to the work and highlights the qualities which the various edifices share: the beauty and purity of their geometry. In The Abbey Church of St. Benedictus, Vaals, Holland; The Ka'ba, Mecca (1995) also in the North gallery, the juxtaposition of a modern European church with the ancient and most sacred architecture of Islam indicates the formal similarity in these religious buildings which both represent cosmic order and spiritual dimension. At the same time, it is a reminder of the authoritative and political power inherent in organised religion. Architecture and design playa large part in communication within the political arena, an important theme linking the works. Based on a real table at the International Monetary Fund in Paris, Negotiating Table (1991) like other furniture in the exhibition, is not a functional object. It is a representation, a sculpture, or a life size model. It calls for reflection on the political and economic forces which lie behind it, upon how they are regulated and how they maintain control. Similarly, a number of the reliefs that show the interior architecture of international governmental institutions reveal the conjunction of formal order and symbolic order in their function. The form of theatre or amphitheatre which many of these organisations adopt, for example in The European Parliament, Luxembourg (1989) epitomises an important aspect of politics: that of spectacle, a display of power. … " ( intro )
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