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Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist to disclose the artistic, sociopolitical, and cultural context in which Abakanowicz has lived and worked.
Examining Abakanowicz's representations of the human body from the fiber works of the 1960s known as Abakans through her War Games and outdoor environments of the 1980s and early 1990s, Inglot shows how these works engage the international art scene and the figurative sculpture of postwar Poland, and how they reflect a particular generation's experience of war and communism. With reference to Abakanowicz's use of national symbols and ceremonies drawn from the public and political discourse of the 1970s and 1980s, Inglot explains the complexity of the artist's attitudes toward contemporary politics and the troubled history of her native country. Inglot clearly locates Abakanowicz as a major contemporary sculptor whose works have embodied innovations in style and media and reflected important sociopolitical issues.
- Sales Rank: #2432710 in Books
- Published on: 2004-03-30
- Original language: English
- Number of items: 1
- Dimensions: 11.16" h x .91" w x 8.94" l, 2.43 pounds
- Binding: Hardcover
- 176 pages
From the Inside Flap
"An exceptionally intelligent study. Joanna Inglot clearly knows both her subject and the complicated circumstances in Poland that have helped to shape Magdalena Abakanowicz."—Dore Ashton, editor of Twentieth-Century Artists on Art
"This is the first truly independent and in-depth study of the most widely known Polish artist, Magdalena Abakanowicz. Considering Abakanowicz's work in both Polish and international contexts, Inglot provides an invaluable critical assessment of the artist's attainment and the myth that surrounds it. Informed, lucid, and clearly written, this is a key book that changes our understanding of Abakanowicz's work and, more broadly, our perception of Polish art after the Second World War."—Ewa Lajer-Burcharth, Professor of History of Art and Architecture, Harvard University
"Working with non-traditional materials in non-traditional genres and fiercely guarding her autonomy against interpretation, Magdalena Abakanowicz carved her niche as an artist. Joanna Inglot's vivid portrait of her is also an impressive account of Polish tradition, of the innovative artists of postwar Poland, and of Abakanowicz's stature as one of the most powerful figurative sculptors from the 1960s through the present."—Eva Forgacs, author of The Bauhaus Idea and Bauhaus Politics
"This fine example of artistic monograph recasts Abakanowicz's international renown against the intricate background of her Polish roots. By recounting the artist's evolution from textile artist to fiber sculptor within the context of Poland's postwar struggle with issues of contemporary art, this book makes clear that Abakanowicz's work is more closely tied to her Polish heritage than even she would want to admit. Joanna Inglot's sensitive narrative underscores the universal message of Abakanowicz's compelling forms and challenges the longstanding perception that East European art was isolated during the Cold War era."—Myroslava M. Mudrak, author of The New Generation and Artistic Modernism in the Ukraine
"A masterfully executed study that combines the gripping story of Magdalena Abakanowicz's art and life with a thoughtful and precise reconstruction of the political and cultural realities of state socialism that formed the inescapable context of her work. Joanna Inglot illuminates also the intellectual and aesthetic ideas that enabled Abakanowicz to transcend this context and become an international star."—Jan Kubik, author of The Power of Symbols Against the Symbols of Power: The Rise of Solidarity and the Fall of State Socialism in Poland
From the Back Cover
"An exceptionally intelligent study. Joanna Inglot clearly knows both her subject and the complicated circumstances in Poland that have helped to shape Magdalena Abakanowicz."--Dore Ashton, editor of "Twentieth-Century Artists on Art
"This is the first truly independent and in-depth study of the most widely known Polish artist, Magdalena Abakanowicz. Considering Abakanowicz's work in both Polish and international contexts, Inglot provides an invaluable critical assessment of the artist's attainment and the myth that surrounds it. Informed, lucid, and clearly written, this is a key book that changes our understanding of Abakanowicz's work and, more broadly, our perception of Polish art after the Second World War."--Ewa Lajer-Burcharth, Professor of History of Art and Architecture, Harvard University
"Working with non-traditional materials in non-traditional genres and fiercely guarding her autonomy against interpretation, Magdalena Abakanowicz carved her niche as an artist. Joanna Inglot's vivid portrait of her is also an impressive account of Polish tradition, of the innovative artists of postwar Poland, and of Abakanowicz's stature as one of the most powerful figurative sculptors from the 1960s through the present."--Eva Forgacs, author of "The Bauhaus Idea and "Bauhaus Politics
"This fine example of artistic monograph recasts Abakanowicz's international renown against the intricate background of her Polish roots. By recounting the artist's evolution from textile artist to fiber sculptor within the context of Poland's postwar struggle with issues of contemporary art, this book makes clear that Abakanowicz's work is more closely tied to her Polish heritage than even she would wantto admit. Joanna Inglot's sensitive narrative underscores the universal message of Abakanowicz's compelling forms and challenges the longstanding perception that East European art was isolated during the Cold War era."--Myroslava M. Mudrak, author of "The New Generation and "Artistic Modernism in the Ukraine
"A masterfully executed study that combines the gripping story of Magdalena Abakanowicz's art and life with a thoughtful and precise reconstruction of the political and cultural realities of state socialism that formed the inescapable context of her work. Joanna Inglot illuminates also the intellectual and aesthetic ideas that enabled Abakanowicz to transcend this context and become an international star."--Jan Kubik, author of The Power of Symbols Against the Symbols of Power: The Rise of Solidarity and the Fall of State Socialism in Poland
About the Author
Joanna Inglot is Associate Professor of Art History at the College of St. Catherine in St. Paul, Minnesota.
Most helpful customer reviews
4 of 5 people found the following review helpful.
EXTREMELY DISAPPOINTING
By Gratis
The title of this book promised a lot: I was expecting a definitive survey of Magdalena Abakanowicz' figurative sculpture, but what I got was a very academic, self-opinionated rant from someone who gives the impression of being insanely jealous of the artist's accomplishments.
While Joanna Inglot states that "I had planned to provide comprehensive photographic documentation of Abakanowicz' most important works.... as well as the text of Portrait x 20...", the book contains none of this because Ms Inglot refused to allow the artist to review the manuscript - a condition for permission to use images. And little wonder that she didn't want it reviewed by the artist whose work is the subject of the book: text full of inference and innuendo and suggestions that the artist concocted her own life story to somehow invent a persona which matched her artistic aspirations. I can't remember ever reading such a biased and self-opinionated piece.
The author seemingly regards herself as the authority on this artist and the tone of her writing gives the impression that her academic status makes her superior to not only the artist but anyone else who has ever written about her. For example, Ms Inglot dismissively describes one highly regarded book as a "coffee table book", and makes a point of describing her own writings as "scholarly". I don't think so!
What could have been a well-rounded complete survey of Magdalena Abakanowicz' figurative sculpture, is instead very lightweight in terms of illustrations and contributed text from the artist. And all because Ms Inglot seemingly let her ego get in the way, quote: "...scholarly books do not need authorisation by their subjects, only by their authors...". A sad waste of a great opportunity.
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