paul pieroni (5 resultados)

Paperback. Condición: New. A Geometricised World In 1980 Peter Halley painted his first "prisons," re-deploying the language of geometric abstraction in response to physical and bureaucratic environments. Radically deconstructing the language of abstraction, he re-imagined it not as a utopian source of liberation, but as a dystopian symbol of the regulation of physical and social space. As he wrote in 1990: "I wanted to draw attention to this geometricised, rationalised, quantified world. I saw it as a world characterised by efficiency, by regimentation of movement, bureaucracies, whether in the corporation, government, or university." Working in the era of the mass adoption of personal computers and the advent of the Internet, he developed a tightly organized system of discrete, geometric forms that he refers to as "prisons," "conduits," and "cells." Adopting non-traditional materials such as Roll- A-Tex, a paint additive that provides a readymade texture, and Day-Glo fluorescent colors, he referenced a pervasive mechanization of the human touch and technology in the postmodern environment. Set within the context of a prolific period of painting and critical writing in the 1980s, this catalogue traces the development of Halley's singular pictorial vocabulary.

Hardback. Condición: New.

brossura paperback. Condición: Good. Hatje Cantz Verlag Gmbh & Co Kg 2023pp. 224 - cm 29 x 24.5in brossura editorialeancora nel cellophane  Sulla nascita del linguaggio formale di Halley fatto di ?prigioni, celle e condotti? nella New York degli anni '80Questa mostra ripercorre i primi dieci anni della carriera di Peter Halley (nato nel 1953). Riunisce più di 30 dipinti provenienti da collezioni pubbliche e private e presenta opere famose insieme a disegni, schizzi e appunti mai visti prima.Dopo aver studiato a Yale e a New Orleans alla fine degli anni '70, Halley tornò a New York nel 1980 e si stabilì nell'East Village. Nello stesso anno dipinse le sue prime immagini legate all'idea di chiusura e prigionia, usando il linguaggio dell'astrazione geometrica per riflettere sugli ambienti burocratici.Halley iniziò a usare materiali non tradizionali, come il Roll-A-Tex, un additivo per la pittura che crea una superficie già strutturata, e colori fluorescenti Day-Glo. Con il Roll-A-Tex voleva suggerire una perdita del contatto umano, sempre più sostituito da processi meccanici; con i colori fluorescenti faceva riferimento alla presenza della tecnologia nell'ambiente postmodernoQuesto Volume fa parte della collezione Arte del Novecento di iolibrocarmine . Book.

Paperback. Condición: New. A Geometricised World In 1980 Peter Halley painted his first "prisons," re-deploying the language of geometric abstraction in response to physical and bureaucratic environments. Radically deconstructing the language of abstraction, he re-imagined it not as a utopian source of liberation, but as a dystopian symbol of the regulation of physical and social space. As he wrote in 1990: "I wanted to draw attention to this geometricised, rationalised, quantified world. I saw it as a world characterised by efficiency, by regimentation of movement, bureaucracies, whether in the corporation, government, or university." Working in the era of the mass adoption of personal computers and the advent of the Internet, he developed a tightly organized system of discrete, geometric forms that he refers to as "prisons," "conduits," and "cells." Adopting non-traditional materials such as Roll- A-Tex, a paint additive that provides a readymade texture, and Day-Glo fluorescent colors, he referenced a pervasive mechanization of the human touch and technology in the postmodern environment. Set within the context of a prolific period of painting and critical writing in the 1980s, this catalogue traces the development of Halley's singular pictorial vocabulary.

Hardback. Condición: New.