Sentences with phrase «1970s video performances»

In Light Readings, Chris Darke associated Donegan with a «new generation» of performance and video artists whose work uses the «formal strategies» of 1970s video performances (e.g., «low - tech», «single - take» videos about «process, duration, and repetition» from artists like Bruce Nauman and Vito Acconci).

Not exact matches

Illustrated with performance, private videos, and recollections from those who knew him, this detailed and innovative documentary looks at the life of the always provocative artist Chris Burden, whose work consistently challenged ideas about the limits and nature of modern art, from his notorious performances in the 1970s to his later assemblages, installations, kinetic and static sculptures, and scientific models.

Since the early 1970s, when Chris Burden had himself publicly shot in the arm and Vito Acconci masturbated under a gallery floor as his audience walked above him, performance, installation, and video art have increasingly pushed the envelope into new, often transgressive territory.

Although a pioneer of video and performance art in the 1970s, Joan Jonas is only now getting her due as one of the most forward - thinking artists of the last half century.

Trained in art history and sculpture, Jonas was a central figure in the performance art movement of the late 1960s, and her experiments and productions in the late 1960s and early 1970s continue to be crucial to the development of many contemporary art genres, from performance and video to conceptual art and theatre.

Through its wealth of documentation, video, photography, and performance - much of it never before seen - this exhibit catalog traces how these diverse art practices were in dialogue with the growing movement of independent art spaces throughout the 1970s and 1980s.

Featuring the likes of Cindy Sherman, Martha Rosler and Birgit Jürgenssen, this exhibition shows, in film, photography, collage, performance and video, just how confrontationally political the avant garde was in the 1970s and, by extension, how tame it is now.

[33] Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.

Frieze New York 2013 Talks Announced — The Frieze Talks program for Frieze New York's second iteration has been released and it contains more than a few intriguing lectures and panels, including Douglas Crimp discussing the 1970s New York art world, musician John Maus on songs that have influenced him, and Joan Jonas reflecting on over 50 years of pioneering performance and video art.

Howard Fried is an American conceptual artist who became known in the 1970s for his pioneering work in video, performance and installation art.

Focusing on photographs, collage works, performances, films and videos produced throughout the 1970s, the exhibition reflects a moment during which practices of emancipation, gender equality and civil rights protest movements became part of public discourse.

Joan Jonas is an American visual artist and a pioneer of video and performance art who is one of the most important female artists to emerge in the late 1960s and early 1970s.

Since the early 1970s, Martha Wilson (b. 1947) has created conceptually based performances, videos, and photo / text compositions that grapple with constructions and manifestations of feminism, identity, and the way we construct and present ourselves.

Artist Michael Smith discusses the influence of standup comedy and television on his early video and performance works, on - view in the exhibition Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970 — 1980 (October 31, 2013 — Februarperformance works, on - view in the exhibition Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970 — 1980 (October 31, 2013 — FebruarPerformance, and the New Psychodrama — Manhattan, 1970 — 1980 (October 31, 2013 — February 2, 2014).

Joan Jonas is an artist and filmmaker who, in the early 1970s, pioneered the use of video and performance in...

In this video, Elizabeth Streb describes what it felt like to walk down the facade of the Museum for her performance of Trisha Brown's Man Walking Down the Side of a Building (1970 during Off the Wall: Part 2 — Seven Works by Trisha Brown.

Tate Modern, London 14 March — 5 August In the 1970s, Joan Jonas (along with Marina Abramovic and many other women) was using bodies, mirrors and rituals to pioneer performance and video art in the US and beyond.

Boundaries and surveillance have preoccupied Beirne since his earliest performances in the 1970s; in Madison Square Park, surveillance cameras on three small lawns transmit a live video feed to the monitors in the Mad.

Through the 1970s the place of painting at the leading edge of the visual arts was challenged by developments in conceptual art, installation art, sculpture, video and performance (see Contemporary Trends in Art; Video video and performance (see Contemporary Trends in Art; Video Video Art).

Lives and works Brooklyn, New York) Vito Acconci achieved international recognition for his 1970s body performance works, which were presented via video, film or in person, almost immediately.

(23.7 cm) diameter Courtesy the artist and bitforms gallery, New York Amor Muñoz Mexican, born 1979 Rhythmic Manufacture, 2015/2017 Watercolor on paper, metronome, table, coverall, clock, and HD video with sound Performance at San Francisco Museum of Modern Art, July 12 — 15, 2017 Dimensions variable Video production: 32K Productions Courtesy the artist Camille Norment American, born 1970 Lull, 2016 Dynamic sound installation with pendulum microphone Dimensions variable Courtesy the Camille Norment Studio O Grivo (Nelson Soares and Marcos Moreira Marcos) Active since 1990, Belo Horizonte, Brazil Cantilena, 2017 Kinetic sound installation (wood, bamboo, MDF, copper pipes, brass rods and sheets, steel rods, violin and guitar strings, nylon wires, iron sheets, galvanized steel sheets, brass paper, electrical wires, and electric motors) Overall dimensions variable San Francisco Museum of Modern Art, Accessions Committee Fund purchase Susan Philipsz Scottish, born 1965 Night and Fog (Clarinet), 2016 Twelve - channel sound installation, 47video with sound Performance at San Francisco Museum of Modern Art, July 12 — 15, 2017 Dimensions variable Video production: 32K Productions Courtesy the artist Camille Norment American, born 1970 Lull, 2016 Dynamic sound installation with pendulum microphone Dimensions variable Courtesy the Camille Norment Studio O Grivo (Nelson Soares and Marcos Moreira Marcos) Active since 1990, Belo Horizonte, Brazil Cantilena, 2017 Kinetic sound installation (wood, bamboo, MDF, copper pipes, brass rods and sheets, steel rods, violin and guitar strings, nylon wires, iron sheets, galvanized steel sheets, brass paper, electrical wires, and electric motors) Overall dimensions variable San Francisco Museum of Modern Art, Accessions Committee Fund purchase Susan Philipsz Scottish, born 1965 Night and Fog (Clarinet), 2016 Twelve - channel sound installation, 47Video production: 32K Productions Courtesy the artist Camille Norment American, born 1970 Lull, 2016 Dynamic sound installation with pendulum microphone Dimensions variable Courtesy the Camille Norment Studio O Grivo (Nelson Soares and Marcos Moreira Marcos) Active since 1990, Belo Horizonte, Brazil Cantilena, 2017 Kinetic sound installation (wood, bamboo, MDF, copper pipes, brass rods and sheets, steel rods, violin and guitar strings, nylon wires, iron sheets, galvanized steel sheets, brass paper, electrical wires, and electric motors) Overall dimensions variable San Francisco Museum of Modern Art, Accessions Committee Fund purchase Susan Philipsz Scottish, born 1965 Night and Fog (Clarinet), 2016 Twelve - channel sound installation, 47 min.

By the late 1970s, the term «sculpture» had come to include all manner of events (actions and performances), materials (plastics, resins, rubbers, etc.), media (photography, film, video and electronics) and modes of presentation (site - specific installations, street works, documentation, etc.).

Among the highlights of Mark Leckey: Containers and Their Drivers will be Leckey's breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist's Sound System sculptures (2001 — 2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that considers «smart» objects and our increasingly technological environment; and a new iteration of the installation UniAddDumThs (2014), which Leckey created as a «copy» of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before.

On the occasion of the exhibition Maren Hassinger: The Spirit of Things, Jenkins will discuss his diverse body of video and performance work and historical past collaborating with artist Maren Hassinger, as part of Jenkins involvement in Studio Z, a collective of artists that included Hassinger, Barbara McCullough, Franklin Parker, David Hammons and Senga Nengudi, and others in the 1970s.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

Sharon Hayes (b. 1970) is a New York — based artist who uses photography, film, video, sound, and performance to examine the nexus between politics, history, speech, and desire.

Graham's installations and performances with video from the years 1970 — 78 are documented with numerous illustrations, photos, and brief descriptions.

One - person exhibition of audio, video and performance documentation with art relating to performances from 1970 to 1976.

[33] Maria Troy, «I Say I Am: Women's Performance Video from the 1970s,» also the title to a collection of «early feminist tapes» curated by Troy as Associate Curator of Media at the Wexner Center in Columbus, Ohio.

Since the early 1970s, Charles Atlas has been an innovator in combining dance and performance with film and video.

BREAKAWAY, Bruce Conner, 1966, 5 min, 16 mm I'm Not The Girl Who Misses Much, Pipilotti Rist, 1986, 7:46 min., DVD Violin Power, Steina, 1970 - 78, 10 min., DVD MEA CULPA, Bruce Conner, 1981, 5 min., 16 mm Kojak / Wang from Pop Pop Video, Dara Birnbaum, 1980, 3 min., DVD Telephones, Christian Marclay, 1995, 7:30 min., DVD The Audition, Anne Colvin, 2008, 1:20 min., DVD All the Parts from Simon and Garfunkel's 1984 Central Park Performance Where Garfunkel Sings With His Hands in His Pockets, Cory Arcangel, 2004, 6:33 min., DVD Beatles Über California, Kota Ezawa, 2010, 3:20 min., DVD (premiere)

Following two precious volumes of writings from the 1970s — 90s Canadian magazine Parachute — Museums, Art History, and Theory and Performance & Performativity — the essays collected in this third volume focus on photography, film, video and new media.

In her performances, videos, and installations, Sharon Hayes (b. 1970) explores the nexus between politics, history, speech, and desire.

A leading light of the French feminist movement in art during the 1970s, Yalter built her reputation on a series of works (chiefly in the form of drawings, videos, photographic collages and performances) exploring the role of women in society and the plight of migrants and refugees.

In the 1960s and 1970s artists in Europe and in North and South America used the first portable video cameras and thus the recordings of their performances were often driven by socio - political ambitions.

Constance Lewallen, co-curator of State of Mind: New California Art Circa 1970, and William Wegman, pioneer video artist, conceptualist, photographer, painter, and writer, will discuss Californian artists» significant contributions in Conceptual art, video, performance, and installation art in the late 1960s and early 19701970s.

Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo.

For four decades, Martha Wilson has been at the forefront of this movement, with her work in live performance, video and photo - text juxtapositions in the late 1970s collaborating with DISBAND — «the all - girl band of artists who couldn't play any instruments,» as she puts it — and founding the nonprofit art space Franklin Furnace in Brooklyn.

Lilibeth Cuenca Rasmussen is a Copenhagen - based performance and video artist born in 1970 in Manila, the Philippines.

Based in Cologne, Trockel's work has been highly influential since the 1970s, working with collage, sculpture, painting, video and performance to address feminism, female identity, sexuality and the human body.

Included are works that have not been shown for over 40 years, such as Kos's groundbreaking rEVOLUTION (1970), a double Super 8 film and video installation documenting a performance by Kos at di Rosa.

This exhibition surveys the sculpture, performance, video and related work of American artist Senga Nengudi (born 1943), dating from the 1970s to the present.

This was extremely prescient, considering that he began transforming his performance art into videos as soon as he arrived in Los Angeles, with Spinning, in 1970.

A feminist, activist and video and performance pioneer, Ivekovic came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings.

Other important exhibitions include Adventure of the Black Square: Abstract Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012); Greater New York, P.S. 1 Contemporary Art Center, Long Island City, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, Institute of Contemporary Art, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, Studio Museum of Harlem, New York (2005 - 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

Concluding the exhibition, «Untitled» (1970 - 2009) is a performance and video installation originally created for the 1970 Tokyo Biennale and revisited in 2009 for Bruce Nauman's participation in the Venice Biennale.

Art and Black Los Angeles, 1960 - 1980, Hammer Museum, Los Angeles (2011, traveling); Under the Big Black Sun, Museum of Contemporary Art, Los Angeles (2011); Los Angeles Goes Live: Los Angeles Performance Art, 1970 - 1983, Los Angeles Contemporary Exhibitions (2011); Video Studio: Playback, The Studio Museum in Harlem (2011); WACK!

Trained in art history and sculpture, Jonas was a central figure in the performance art movement of the late 1960s, and her experiments and productions in the late 1960s and early 1970s continue to be crucial to the development of many contemporary art genres, from performance and video to conceptual art and theater.

These artists extend the scope of feminist performances, body art, and videos from the 1970s.

Since the early 1970s, Heyward has explored language through live performance, photography, film and video and interactive digital works.