Konstfacks bibliotek

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*00140081
*00520151127030920.4
*008150727s2015    xxka     b    001 0 eng d
*020  $a978-0-500-23938-4 (hbk.)
*035  $a(SE-LIBR)18720394
*035  $a(Ko)46243
*040  $aStDuBDS$beng$cStDuBDS$erda$dKo
*08204$a704.9'42$223
*084  $aIbvz Porträtt$2kssb/8
*1001 $aMullins, Charlotte
*24510$aPicturing people :$bthe new state of the art /$cCharlotte Mullins
*260  $aLondon :$bThames & Hudson,$c2015
*300  $a192 pages :$billustrations (black and white, and colour) ;$c29 cm
*504  $aIncludes bibliographical references and index.
*5208 $aFigurative art is currently riding high. Contemporary works depicting the human form grace the walls of public institutions and commercial galleries alike. Champions of paint, such as Katherine Bernhardt and Adrian Ghenie; photographic artists, such as Gillian Wearing and Cindy Sherman; Charles Averys drawings, Grayson Perry's tapestries and Kara Walker's silhouettes these and many other artists from diverse backgrounds are working in a range of media to explore new ways to depict the human form. Charlotte Mullins explores the reasons behind this resurgence and considers what the figure means to the artists who depict it in their practice.
*599  $aImported from: wyvern.uwe.ac.uk:2200/unicorn (Do not remove)
*650 0$aHuman figure in art.
*650 7$aPorträttkonst$2sao
*650 0$aPortraits
*650 0$aPortrait drawing
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^

Figurative art is currently riding high. Contemporary works of figuration grace the walls of public institutions and commercial galleries alike. From the champions of paint such as Katherine Bernhardt and Adrian Ghenie to photographic artists such as Gillian Wearing and Cindy Sherman; from the drawings of Charles Avery to Grayson Perry's tapestries and Kara Walker's silhouettes; artists from diverse backgrounds working in a range of media are exploring new ways to depict the human form.

This accessible, perceptive introduction features recent work by seventy new artists, all of whom successfully employ the figure to help make sense of the world we live in. Picturing People explores the reasons behind this resurgence and considers what the figure means to the artists who use it. Some ask questions about how marks coalesce into figures. Some draw on photographic imagery, some on art's own history to make sense of the digital present. Some seem to be influenced by scientific developments or philosophy as they invent parallel worlds; while others deliberately lose the individual in critiques of capitalist or communist socio-economic models.