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Rudy Mück mouthpieces offer a scientifically improved CHAMBERED THROAT enabling splendid attack in the high low and medium registers. Due to it's long and mathematically perfect construction the chamber of the throat allows clear rounded tone without effort and without lipping or adjusting the notes.The NON-SLIP grip, which eliminate lip bruises and absolutely prevents the embrouchure even when wet from slipping.The CUSHION RIM, outstanding in it's practicability, is one of the most co

Rudy Mück mouthpieces offer a scientifically improved CHAMBERED THROAT enabling splendid attack in the high low and medium registers. Due to it's long and mathematically perfect construction the chamber of the throat allows clear rounded tone without effort and without lipping or adjusting the notes.The NON-SLIP grip, which eliminate lip bruises and absolutely prevents the embrouchure even when wet from slipping.The CUSHION RIM, outstanding in it's practicability, is one of the most co

Ron Mueck (b. 1958) is known for his extraordinarily lifelike sculptures of people in fragile, naked states: a postpartum woman, a crouching, cornered man, and, perhaps most famously, the body of his dead father. Mueck plays dramatically with scale; a newborn baby, with traces of afterbirth and blood, looms impressively over viewers, measuring sixteen feet from crown to foot, while a spooning half-clothed couple would fit easily on a coffee table. In each case, the amount of detail—individual pores and dimples, hairs and blemishes—is uncanny. The figures are disconcerting and yet impossible to resist. Mueck's obsessive attention to detail and craft has its beginnings in his early days as a model maker and puppeteer for films like Jim Henson's Labyrinth. It was in 1997, when noted dealer Charles Saatchi discovered Mueck's work and included his sculpture Dead Dad in the groundbreaking Sensation show, that Mueck began to attract international attention. Today, the artist's sculptures are some of the most widely acclaimed, prominent, and identifiable works of contemporary art.  Produced in close collaboration with the artist, this beautifully illustrated book is the first to provide a comprehensive look at Mueck's work to date. The book offers detailed insight into the artist's ideas and methods and features a catalogue raisonné. Essays by leading scholars highlight the depth of his practice and further affirm Mueck's importance.

This book accompanies the major exhibition of work by Ron Mueck, which will be held in the Royal Scottish Academy Building in Edinburgh from 5 August to 1 October 2006. Mueck (born in Melbourne, Australia in 1958), first came to international prominence when his amazingly lifelike sculpture, Dead Dad , was shown in the Sensation exhibition in London in 1997. This homage to his recently deceased father showed the latter's dead, naked body lying on the floor. Mueck had rendered it so minutely realistic that visitors were shocked. However, in one crucially important aspect, Dead Dad was not lifelike: it was about half the size of a normal body. Looking down on it in the gallery, visitors felt rather like Gulliver in Lilliput, amazed at the sight of a miniature human being. Mueck's sculptures are all of the human figure, some smaller than lifesize, some larger. They portray us, members of the human race, as we progress from birth towards death: as babies, children, adolescents, mature adults, and

Visitors to the 2001 Venice Biennale were highly impressed with the sculpture Boy--a child who stood five meters high--by the London-based artist Ron Mueck. Harald Szeemann called the sculpture "the sphinx of the exhibition," and it soon became its landmark. The monumental, crouching figure of a youth makes a vulnerable, defensive impression and yet, its watchful eye seems to miss nothing. Mueck's human figures are always technically perfect, absolutely realistic, deliberately undersized or oversized. He first models them in clay and then takes a hollow cast which he fills with silicone or fiberglass. The finished sculptures show delicate networks of veins, fine hairs; they even seem to breathe. Their perfection is always in the service of content, however: Viewers are touched and set thinking by the emotional quality of figures like Pregnant Woman or Dead Dad--created by the artist after the death of his father. With great autonomous presence, exhibiting human features yet completely artificial, Mueck's artworks refer to fundamental questions and allow a wealth of associations.

The sculptor Ron Mueck first came to major critical attention during the controversial Sensation exhibition at the Brooklyn Museum of Art in 1997, and since then he has received international recognition. His figurative sculptures, which are usually cast in silicon and acrylic, are celebrated for their incredible lifelike detail, although his manipulation of their scale means that they often evoke reality rather than directly imitating it. This generously illustrated book is the first to discuss the range of Mueck’s innovative work to date. Since 1999, Mueck has been Associate Artist at the National Gallery, London, creating work in response to its collection. Published to accompany the first exhibition of these new pieces, this book contains two essays: Colin Wiggins explores in detail the new sculptures’ links to the National Gallery’s collection, and Susanna Greeves examines Mueck’s work in a wider artistic context.

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 3.97

Ron Mueck has always employed scale with psychological intent, creating uncannily life-like sculptures that are never actually life size. The life of "Boy," his largest sculpture yet with a bulk of roughly 16 feet, is documented here in photographs that reveal his eight-month-long gestation period in a London warehouse and his piecemeal journey by boat to the Venice Biennale.

Ron Mueck has always employed scale with psychological intent, creating uncannily life-like sculptures that are never actually life size. The life of "Boy," his largest sculpture yet with a bulk of roughly 16 feet, is documented here in photographs that reveal his eight-month-long gestation period in a London warehouse and his piecemeal journey by boat to the Venice Biennale.