Ilya Kabakov /Series: Contemporary artistsPublication details: London : Phaidon, ©1998.Description: 160 pages : illustrations (some color) ; 29 cmISBN:
- N6999.K23 G76 1998
- Also issued online.
|Item type||Current library||Collection||Call number||Copy number||Status||Date due||Barcode|
|Book||Whitecliffe Library General Shelves||General||N 6999 GRO (Browse shelf(Opens below))||1||Available||0004963|
|No cover image available|
|N 6998 NEI BER Art and revolution:||N 6999 AES STA 001 Inverso mundus. AES+F :||N 6999 CHA BAA Marc Chagall, 1887-1985 /||N 6999 GRO Ilya Kabakov /||N 6999 KOM Monumental propaganda :||N 6999 KOM Painting by numbers :||N 6999 KOM Komar & Melamid /|
Includes bibliographical references (pages 159-160).
Interview / David A. Ross in conversation with Ilya Kabakov -- The Movable Cave, or Kabakov's Self-memorials / Boris Groys -- Going to Heaven / Iwona Blazwick -- The Steppe (extract), 1888 / Anton Chekhov -- The Man Who Never Threw Anything Away, c. 1977 -- Not Everyone Will Be Taken into the Future, 1982 -- Mental Institution, or Institute of Creative Research, 1991 -- The Life of Flies, 1992 -- The Communal Kitchen, 1992 -- Cezanne, 1995 -- In conversation with Robert Storr (extract), 1995 -- Healing with Paintings, 1996 -- Monument to the Lost Glove, 1996 -- The Palace of Projects (extract), 1998 -- The Boat of My Life, 1993 / Ilya Kabakov -- Chronology.
"After spending some thirty years as an 'unofficial' artist behind the Iron Curtain of the former Soviet Union, Ilya Kabakov first came to the attention of the West in the 1980s. Today Kabakov is recognized as the most important Russian artist to have emerged in the late 20th century, with installations that speak as much about conditions in post-Stalinist Russia as they do about the human condition universally. His installations are, in some instances, akin to theatrical mise-en-scenes, reproducing a cramped communal apartment or a flooded art museum as a site of Schadenfreude-like comedies on human frustration and doomed aspirations. Alternating between light-hearted irony and genuine tragedy, Kabakov evokes a shadowy world lit by a twenty-watt bulb in which fable-like miracles might occur: a homespun cosmonaut may fly into space, or the radio/television aerial may spell out a poem against the sky. Ilya Kabakov's work has featured in the world's most significant surveys of contemporary art, among them Documenta IX (Kassel, Germany, 1992), and the Whitney Biennial (New York, 1997). In 1993 Kabakov represented Russia at the 45th Venice Biennale."--Jacket.
Also issued online.