SchloBpark Ambras – 1996/97
Dust Jacket - front:
Yorkshire Sculpture Park 1995/96
This is a very neat book. The sculpture which is featured in this book is grand. The majority of the photographs were taken at exhibitions at these locations during the 1995-1997 time period. The book was published in 1997. Contributors to the effort, in addition to the sculptor, are Elisabeth Thoman-Oberhofer, Peter Weiermair, Kristian Sotriffer and Peter Murray. The book measures 9 ¾ inches by 11 ¼ inches and contains 87 pages. The dust jacket shows minor signs of wear around the edges, however, it is in very good condition. The cover consists of paper covered hard boards. There is a small mark on the bottom edges of the pages – remainder? The cover shows no signs of wear to speak of. The spine is tight and the hinges are strong. The pages show no signs of rips. Exceptions noted, the overall condition of this book is very good.
Note: My keyboard does not have “special characters” so the name SchloBpark will not appear correctly in this listing.
Excerpt – Dust Jacket:
Karl Prantl was born in Pottsching, Burgenland, Austria, where he has also lived and worked since 1978. He studied painting at the Academy of Fine Arts in Vienna, but from 1950 on concerned himself with sculpture, in particular stone.
In 1959 he organised the “1st Symposium of European Sculptors” in the quarry at St. Margarethen in Burgenland, which was subsequently held at yearly intervals. It also gave rise to many other international symposia, at which Prantl himself often took part, working there for several months, maintaining contact and exchanging experiences with his fellow sculptors. Starting in the 1960s, he crated numerous large individual and group stone sculpture for public commissions and private collections. Fort Karl Prantl, the encounter with nature is the alternative to academic approaches, and to the confines and the isolation of the studio. The incorruptible features of nature and its materials, the changes of light and the seasons, the tempo of its coming and going, which also has its effect on the civilising traces of the use and exploitation of nature, determine Karl Prantl’s thoughts and chemistry.
End excerpt
Note: The final illustration – Invocations, Black granite, 1992
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