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Phyllida Barlow: Sculpture 1963-2023

Sale price$60.00

Phyllida Barlow: Sculpture, 1963–2023' is a comprehensive guide to Phyllida Barlow’s sculptural language, charting the progression of the artist’s extraordinary and influential career. Barlow’s restless invented forms stretch the limits of mass, volume, and height, challenging her audience into a new relationship with the sculptural object, the gallery environment, and the world beyond. Originally published by Fruitmarket and Hatje Cantz in 2015, this major monograph begins in the 1960s and documents six decades of Barlow’s astonishing sculptures and expansive installations, including the Duveen Commission for Tate Britain (2014) and her 2015 Fruitmarket exhibition, set. It has now been expanded to include Barlow’s important exhibitions in the years that followed, among them the British Pavilion for the 2017 Venice Biennale, her work for New York’s High Line (2018), and her Schwitters-Prize-winning exhibition at the Sprengel Museum in Hannover (2022). Authored by curator Frances Morris, who has made extensive additions to her original text for this updated edition, and featuring illustrations of over 130 works, 'Phyllida Barlow: Sculpture, 1963–2023' is the indispensable resource on the important British sculptor.

Phyllida Barlow: Sculpture 1963-2023
Phyllida Barlow: Sculpture 1963-2023 Sale price$60.00

Language

English

Publisher

Hauser & Wirth Publishers

Composition

Hardback

Contributors

Text by Frances Morris and Fiona Bradley

Pages

304

Size

25 cm x 23 cm

ISBN

9783906915937

Publication Date

Oct-24

A Reading List for Phyllida Barlow

On the occasion of Phyllida Barlow's exhibition 'unscripted' at our Somerset gallery—a sitewide takeover that celebrates the late British artist's transformative approach to sculpture—learn more about Barlow and her practice through this collection of publications.

The Artist

PHYLLIDA BARLOW

For almost 60 years, British artist Phyllida Barlow took inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She created large-scale yet anti-monumental sculptures from inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim, plaster and cement. These constructions were often painted in industrial or vibrant colors, the seams of their construction left at times visible, revealing the means of their making.

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