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Blacks and Bays, Dapples and Greys: All the Pretty Horses in Art and Photography
Coles
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Blacks and Bays, Dapples and Greys: All the Pretty Horses in Art and Photography in Grande Prairie, AB
Current price: $115.00

Coles
Blacks and Bays, Dapples and Greys: All the Pretty Horses in Art and Photography in Grande Prairie, AB
Current price: $115.00
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Size: Hardcover
*Product information and pricing may vary - to confirm current pricing, availability, shipping, and return information please contact Coles. In the event of a pricing discrepancy, the retailer's price will apply.
In a refreshingly original book, author, and curator Tiggy Maconochie connects humanity with the horse through a contemporary visual lens via artists who are not typically known for their horse-inspired work.
Maconochie has curated a one-of-a-kind collection in one volume combining performance art, poetry, video stills, three-dimensional pieces, as well as painting and photography, as she tells the stories behind each work, linking them across nine themes. The book includes works by a diverse range of artists, including Marina Abramović, Maurizio Cattelan, Richard Prince, Martin Parr, Man Ray, Lucien Freud, David Smith, Nan Goldin, Ugo Rondinone and Georgia O’Keefe. The foreword is a standalone piece by Tracey Emin, who has also contributed visually through film stills.
In a refreshingly original book, author, and curator Tiggy Maconochie connects humanity with the horse through a contemporary visual lens via artists who are not typically known for their horse-inspired work.
Maconochie has curated a one-of-a-kind collection in one volume combining performance art, poetry, video stills, three-dimensional pieces, as well as painting and photography, as she tells the stories behind each work, linking them across nine themes. The book includes works by a diverse range of artists, including Marina Abramović, Maurizio Cattelan, Richard Prince, Martin Parr, Man Ray, Lucien Freud, David Smith, Nan Goldin, Ugo Rondinone and Georgia O’Keefe. The foreword is a standalone piece by Tracey Emin, who has also contributed visually through film stills.




















