MARC Record from harvard_bibliographic_metadata

LEADER: 02265cam a2200433Ii 4500
001 014019521-1
005 20140711145859.0
008 131008s2014 nyuae bc 000 0 eng d
010 $a 2013944086
016 7 $a016472552$2Uk
020 $a9780847841141
020 $a0847841146
035 0 $aocn859645490
040 $aERASA$beng$erda$cERASA$dYDXCP$dBDX$dBTCTA$dUKMGB$dTOH$dOCLCO$dCAM$dCUZ$dGZN$dZCU$dJPG
043 $as-cl---
050 4 $aN6669.N38$bA4x 2014
082 04 $a709.0407
100 1 $aRabinowitz, Cay Sophie,$eauthor.
245 10 $aIván Navarro /$cCay Sophie Rabinowitz, Hilarie M. Sheets.
246 3 $aIvan Navarro
264 1 $aNew York, NY :$bSkira Rizzoli Publications, Inc.,$c2014.
300 $a191 p. :$bcolor illustrations, plans (some color) ;$c29 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
500 $a"Paul Kasmin Gallery."
504 $aIncludes bibliographical references (pages 123-124).
520 8 $aIván Navarro is known internationally for his sociopolitically charged sculptures of neon and fluorescent light. The sculptures and installations of Iván Navarro grow out of the legacy of minimalism and modern design, but they subvert the cool detachment of their forms with pointed sociopolitical critique. Born in Santiago, Chile, in 1972, Navarro grew up under Pinochet's brutal military dictatorship. In order to better understand this dark history, Navarro uses light - a symbol of hope and truth - as his medium, constructing chairs, ladders, doors, and even shopping carts out of neon and fluorescent lights. With their ambient glow and live current, the works are equally seductive and unnerving. In this first monograph on the artist, Cay Sophie Rabinowitz considers the personal stories underlying Navarro's sleek, industrially produced works.
600 10 $aNavarro, Iván,$d1972-$vCatalogs.
600 10 $aNavarro, Iván,$d1972-$vInterviews.
650 0 $aLight art.
650 0 $aSculptors$zChile.
700 1 $aSheets, Hilarie M.,$eauthor,$einterviewer.
700 1 $aNavarro, Iván,$d1972-$eartist,$einterviewee.
710 2 $aPaul Kasmin Gallery.
899 $a415_565634
988 $a20140429
049 $aHLSS
906 $0OCLC