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Exhibitions and Catalogue Raisonné 1989-2005. Published for the exhibitions at Zurich, Hamburg and Liverpool. Illustrated throughout in colour and b&w. 325x260, 195pages.

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Size: 10"x12.75", 195pp., profusely illustrated with many in colour.

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Hardcover. First Edition. First Printing. 195 pages. As New in As New Dust Jacket. Exhibition Monograph/Catalogue Raisonne on subject. The true First Edition. Precedes and should not be confused with the Hatje Cantz edition that is an exact facsimile of it. A brilliant production by Sarah Lucas and Tate Publishing: Oversize-volume format. Pale gray hard boards with titles embossed on cover and spine, as issued. Art by Sarah Lucas. Essays by a constellation of critics, art historians, and scholars. Printed on thick coated stock paper in the United Kingdom to the very highest standards. Published on the occasion of the landmark exhibition that commenced at the Kunsthalle Zurich in 2005 and travelled on to other major European venues before coming home, as it were, to Tate Liverpool. Presents the single most comprehensive volume thus far on the witty, challenging, and enriching conceptual art of Sarah Lucas. "GOD IS DAD. That was the title of Sarah Lucas' last show, in which the pun-prone artist assembled an array of sculptures constructed from cast concrete forms, tacky beige nylon stockings, and random metal objects. These typically abject art pieces fit right into the body of work Lucas has been building since the early 1990's from apparently banal, everyday materials. Old, worn furniture, clothing, food, newspapers, cigarettes, cars, resin, plaster, neon lamps, and light fixtures combine to form grungy assemblages whose appearance belies the serious and complex subject matter they address. Through the slyly anthropomorphic character of her sculptures, Lucas makes constant reference to the human body, questioning gender definitions and challenging male-dominated culture, especially that espoused by the sensationalist British press. She subverts sexual stereotypes in her appropriations of the tabloid vernacular by making unexpected juxtapositions of objects, often employing visual wit, and a defiant, bawdy humor. Lucas, who first came to attention as a YBA ('Young Br