Harland Miller

In Shadows I Boogie

Inbunden, Engelska, 2019

Av Michael Bracewell, Martin Herbert, Catherine Ince

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The most comprehensive monograph to date on the British artist and writer loved for his witty book-cover-inspired canvasesHarland Miller's creativity as both artist and novelist culminates in his iconic paintings of battered book covers with cleverly invented titles. Initially appropriating the classic Penguin paperback before devising his own unique designs, Miller combines aspects of pop art, abstraction, and figurative painting to create highly coveted artworks that have won him a cult following. This monograph covers nearly 20 years of his paintings, and features newly commissioned essays by eminent art writers exploring different aspects of his practice.

Produktinformation

Utgivningsdatum2019-05-13
Mått230 x 320 x 30 mm
Vikt2 000 g
FormatInbunden
SpråkEngelska
Antal sidor266
FörlagPhaidon Press Ltd
ISBN9780714875583

Tillhör följande kategorier

Målarkonst inom Kultur
Konsthistoria inom Kultur

Yorkshire-born Harland Miller has exhibited at ICA, White Cube, and Royal Academy in London; BALTIC Centre for Contemporary Art, Gateshead; and Kunsthalle, Mannheim, and Blain Southern, Berlin.Michael Bracewell is a British novelist, critic, curator, and cultural commentator.Martin Herbert is a Berlin-based writer and critic.Catherine Ince is senior curator for V&A East, and was previously curator at the Barbican, London.

"Featuring essays from arts writers Michael Bracewell and Martin Herbert, and curator Catherine Ince, this book delves into Miller's creative process. It traces his artistic influences, locating his work within the context of abstract expressionism and modern design. It also includes photographs and personal items from Miller's archive."—The Arts Society magazine"Harland Miller's playful paintings are the subject of a new monograph... The monograph [is] a splashy testament to Miller's staying power... Miller is a consummate and sincere storyteller... The exhibition in Asia enables Miller once more to meditate on the interplay between textural forms and the materiality of paint."—Financial Times