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008			021216s2002 enka b 000 0aeng d
010			_a 2003271673
011			_aBIB MATCHES WORLDCAT
020			_a071484036X
020			_a9780714840369
035			_a(ATU)b11255894
035			_a(DLC) 2003271673
035			_a(OCoLC)50495729
040			_aDLC _beng _erda _dFMlbTMQ _dATU
042			_alccopycat
050	0	0	_aN7053.O43 _bA4 2002b
082	0	4	_a709.2 _221
100	1		_aGrynsztejn, Madeleine, _eauthor. _91052271
245	1	0	_aOlafur Eliasson / _cMadeleine Grynsztejn, Daniel Birnbaum, Michael Speaks.
264		1	_aLondon ; _aNew York, NY : _bPhaidon Press, _c2002.
300			_a159 pages : _billustrations (some colour) ; _c29 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aContemporary artists
504			_aIncludes bibliographical references (page 159).
520	1		_a"With images that suggest a modern day Caspar David Friedrich, sculptor, installation artist and photographer Olafur Eliasson recreates in elegant forms the extremes of the landscape and the atmospheric conditions of his native Denmark, resulting in a kind of techno-Romanticism. Now based in Berlin, Eliasson rebuilds in the gallery fragments of a faraway land: icebergs at the Musee d'Art Moderne de la Ville de Paris, 'windmills' at the Louisiana Museum in Humlebaek, Denmark. For Eliasson, immaterial sensations such as temperature, smell, taste, air and magnetic waves become sculptural elements. A simple circular cut in the ceiling of a gallery in Los Angeles, for example, recreates the feeling of the weak Scandinavian sun, and becomes a kind of giant sun-clock reminiscent of both Gordon Matta-Clark's architectural cut-outs and the oculus of the Pantheon." "In her survey, curator Madeleine Grynsztejn examines the unique position of the artist, overlapping technological and artistic innovation in the creation of his art. Critic and curator Daniel Birnbaum discusses with the artist the role of location and the immediate environment in both his gallery (indoor) and remote-site (outdoor) work. Architectural theorist Michael Speaks looks in his Focus at the work Green river (1998) particularly in relation to filmmaker Michelangelo Antonioni's 1964 film, Red Desert. The artist has selected an extract from Henri Bergson's Creative Evolution (1907) dealing with our subjective, visual response to nature, a theme central also in the artist's own work. Olafur Eliasson's writings include an essay on that most banal of topics, the weather, and an open letter entitled 'Dear Everybody' addressed to the viewers."--BOOK JACKET.
588			_aMachine converted from AACR2 source record.
600	0	0	_aOlafur Eliasson, _d1967- _xCriticism and interpretation.
650		0	_aConceptual art _9315929
650		0	_aEnvironment (Art) _9317465
700	0		_aÓlafur Elíasson, _d1967- _9332007
700	1		_aBirnbaum, Daniel, _d1963- _eauthor. _9435393
700	1		_aSpeaks, Michael, _eauthor. _91043519
830		0	_aContemporary artists. _91031709
907			_a.b11255894 _b03-10-17 _c27-10-15
942			_cB
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