Konstfacks bibliotek

Erik Parker : colorful resistance
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  • KONST - Ibz Parker, Erik
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Titel och upphov
  • Erik Parker : colorful resistance
Varianttitel
  • Erik Parker : colourful resistance
Utgivning, distribution etc.
  • Skira Rizzoli, New York : 2012
Utgivningsår
  • 2012
  • Språk: Engelska.
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning
  • 256 p. : col. ill. ; 28 cm.
Anmärkning: Allmän
  • The first retrospective look at the irreverent and boisterous artwork of painter Erik Parker (b. 1968, Stuttgart). With deep roots in alternative comics, illustration, and graffiti, internationally acclaimed artist Erik Parker's work bridges underground culture and the pop-surrealism movement. "Erik Parker: Colorful Resistance" presents his intense compositions, originating from word clusters, viscera-like forms, and animated figurines. Parker's work aggressively takes on the issues of the day through an antiauthoritarian approach to established ideologies.
Anmärkning: Innehållsbeskrivning, sammanfattning
  • Published to accompany the exhibition "Erik Parker: Too Mad to be Scared" held at the Aldrich Contemporary Art Museum, Connecticut, 15 July 2012 to 24 February 2013.
Personnamn
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Institutionsnamn
ISBN
  • 978-0-8478-3894-3 (hbk.)
Antal i kö:
  • 0 (0)
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*520  $aPublished to accompany the exhibition "Erik Parker: Too Mad to be Scared" held at the Aldrich Contemporary Art Museum, Connecticut, 15 July 2012 to 24 February 2013.
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^
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The first retrospective look at the irreverent and boisterous artwork of painter Erik Parker. With deep roots in alternative comics, illustration, and graffiti, internationally acclaimed artist Erik Parker's work bridges underground culture and the pop-surrealism movement. Erik Parker: Colorful Resistance presents his intense compositions, originating from word clusters, viscera-like forms, and animated figurines. Parker's work aggressively takes on the issues of the day through an antiauthoritarian approach to established ideologies. "[Parker's] unpredictable forms are contained by, but also disrupt, relatively geometric framing devices whose radiating curves and bands of color bring to mind proscenium arches or movie marquees. In nearly every painting we seem to be witnessing the emergence of some extravagant freak of nature or perhaps consciousness--a hallucination of the first order." --Roberta Smith, New York Times

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