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Paul Neagu

by Paul Neagu

Paul Neagu across disciplines

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Hardcover New English

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AlbakiReads Editorial

Paul Neagu across disciplines

Spanning 400 pages, this monograph surveys Paul Neagu’s work across performance, sculpture, drawing, painting, video, photography and poetry. It traces an artistic practice shaped by abstraction, from Neagu’s discovery of the Western abstract tradition in Communist Romania to his continued exploration of it after moving to London in 1971. The account also places his work alongside his teaching career at the Slade, Chelsea School of Art and the Royal College. A recurring thread is Neagu’s emphasis on physical engagement with tactile works and his challenge to the primacy of sight in art.

Good fit for readers who enjoy

  • Readers interested in monographs on individual artists and modern art.
  • Those exploring abstraction across multiple artistic media.
  • Readers interested in the relationship between art practice and teaching.

Themes

AbstractionMultidisciplinary art practiceTactility and perceptionArt education

Based on publisher information and book metadata.

Book overview

The first monograph on the influential Romanian artist and teacher

This is the first comprehensive monograph on the Romanian-born, UK-based artist Paul Neagu (1938-2004), whose oeuvre transcends traditional artistic disciplines, and who was for several decades an important source of inspiration for young artists, curators and intellectuals. Neagu's philosophical approach led him to push the boundaries of the Western abstract tradition, which he first discovered clandestinely in Communist Romania. He continued to explore abstraction after relocating to London in 1971, where he became an influential teacher at the Slade, Chelsea School of Art and the Royal College (among his students were Antony Gormley, Anish Kapoor and Rachel Whiteread).
Neagu's practice included performance, sculpture, drawing, painting, video, photography and poetry. He often promoted physical engagement with his more tactile works, underlining one of his enduring aims: to refute what he perceived as the primacy of visuality in art.

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