Sentences with phrase «conceptual identity art»

The unabashed visual richness of these works attests to the power of the decorative while extending the tenets of Conceptual identity art into an unusually full - bodied form of painting.

Building on Conceptual identity art, borrowing from art history and 1970s blaxploitation extravagance, they subvert prevailing notions of beauty and taste and subvert the male gaze while offering resounding proof that the political, not only the personal, can also be stunningly pictorial.

Not exact matches

A designer, art director and artist, Elena's work ranges from identities, print and digital design to conceptual collages and photo art direction.

Ranging from portraiture to performance, abstraction and representation, conceptual and craft - based work, the art in the Collection presents personal and political explorations of identity; feminism; materiality; and the body as the site of pleasure, violence, repression and expression.

Rather it is devoted to examining the structural implications of total loss across art's conceptual, material, legal, actuarial, and financial identities.»

This panel explores the politics and legacy of African American artists, both of Charles Gaines's generation and after, who use strategies of conceptual art to investigate identity, representation, and American culture.

For half a century now, Lynn Hershman Leeson has made pioneering contributions to performance, conceptual art, new media, and film with works whose formal and technical experimentation is matched by her fearlessness in the deconstruction of gendered identity in a misogynist and technologically mediated world.

Allen Grubesic furthers the conceptual framework around commercial identity and art with I DID N'T DO IT (2015).

From Claudia Hart's critique of digital technology and the misogyny of gaming and special effects media to Carla Gannis's performance video where the artist competes with her virtual self; from Cynthia Lin's monumental drawings detailing minuscule portions of skin to Laura Splan's mixture of scientific and domestic in molecular garments and Joyce Yu - Jean Lee's challenge of conventional viewing perspectives; from Christopher Baker's examination on participative media to Victoria Vesna's collaborative project on social networking, identity ownership and the idea of a «virtual body» — the show guides the viewer through an array of captivating approaches that challenge not only current media ideologies but also conceptual paradigms underlying today's digital art, the question of disembodiment and post-humanism in particular.

David Castillo Gallery's focus is on conceptual curatorial models as they relate to art historical, cultural, and personal investigations of identity.

Since the late 1960s, Adrian Piper has forged a unique artistic practice that infused classical Minimal sculptural form with explicit political content and introduced issues of race, gender and identity politics into the vocabulary of Conceptual art.

Associated with conceptual art practices from the 1970s and known as a feminist filmmaker and performance artist, Antin playfully deals with questions of identity, gender, and class.

Eric Firestone Loft will present «Marcia Marcus, Role Play: 1958 - 1973,» a major re-examination highlighting the formal innovations and conceptual relevance of a portraitist who worked at the intersection of painting, proto - performance art and identity politics.

When she appeared in «30 Seconds off an Inch,» a show at the Studio Museum of «conceptual art and identity politics,» she eluded either label.

Martha Wilson's practice, for example, includes photo - text works and conceptual performance art in which gender - based roles and identities are explored, as she dresses in and assumes the identities of stereotypical feminine archetypes and also takes on male personas.

Their curatorial method revolves around conceptual art and the investigation of identity.

In this way, Wang's method evokes a strong metaphor, relating to Chinese cultural identity as much as it relates to conceptual art practices.

A pioneer of Conceptual art, the Los Angeles — based artist has worked with composer Sean Griffin to translate language from four influential speeches or manifestos into musical notation: Malcolm X's last public speech, made in 1965 in Detroit's Ford Auditorium; Peace, Power, Righteousness: An Indigenous Manifesto (1999), by Canadian Mohawk scholar and activist Taiaiake Alfred; «Indocumentalismo Manifesto — an Emerging Socio - Political Ideological Identity» (2010), by Raúl Alcaraz and Daniel Carrillo; and the Declaration of the Rights of Woman and the Female Citizen, written by French activist and writer Olympe De Gouges in 1791.

Conceptual art practices, performance, identity politics in contemporary art, and the work of artists of African descent are central to her curatorial inquiry and book projects.

Robert Blanchon (1965 - 1999) was a conceptual artist whose decade - long exhibition history is marked by a witty, insightful treatment of loss, memory and mortality; mischievousness concerning the pretenses of the art world, and an original treatment of the construction of identity.

González - Torres is a Cuban - born American sculptor, photographer, and conceptual artist known for work in a variety of media that addresses issues of identity, desire, originality, loss, the metaphor of journey, and the private versus the public domain, whose work appears both at AIC and in Art AIDS America Chicago.

Naima Keith: Assistant Curator, The Studio Museum in Harlem Naima J. Keith is an Assistant Curator at The Studio Museum in Harlem where she focuses on themes of identity and conceptual practices in contemporary art, particularly as it relates to artists of African descent.

Featuring many works of the exhibition, Cotter aims to define «West Coast Conceptual Art» from that period as not having a single profile but points to similarities in «an investment in social agency, a focus on mercurial identity, an appetite for ideas and an appetite for art that has reasons for existing beyond itself.&raqArt» from that period as not having a single profile but points to similarities in «an investment in social agency, a focus on mercurial identity, an appetite for ideas and an appetite for art that has reasons for existing beyond itself.&raqart that has reasons for existing beyond itself.»

At 81, the conceptual artist and writer is still mining the timely themes of racial identity, cultural legacies, and what it means to be female — as seen in Lorraine O'Grady: Where Margins Become Centers, at the Carpenter Center for the Visual Arts (CCVA), October 29 - January 10.

Topics include Abstract Expressionism, Pop Art, Minimalism, Process Art, Land Art, Conceptual Art, Body and Performance Art, and Installation Art, with particular attention given to themes of gender and identity, feminism, multiculturalism, environmental awareness and issues of media and technology.

A significant figure in the discourse around abstract painting, conceptual art, and identity politics, Howardena Pindell has explored the potential for abstract painting and process - based practices to address social issues throughout her career.

NSU Art Museum presents the first solo, U.S. museum exhibition of London - based, Malawian artist Samson Kambalu featuring 12 of the artist's recent films, A conceptual artist, ethnomusicologist and author, Kambalu humorously challenges canonical ideas about the history of ideas, art and religion while exploring issues of identity and freedom of expressiArt Museum presents the first solo, U.S. museum exhibition of London - based, Malawian artist Samson Kambalu featuring 12 of the artist's recent films, A conceptual artist, ethnomusicologist and author, Kambalu humorously challenges canonical ideas about the history of ideas, art and religion while exploring issues of identity and freedom of expressiart and religion while exploring issues of identity and freedom of expression.

Topics include basketball heroes, dead wrestlers, conceptual art, skinheads, conspiracy, popular music, and cultural identity.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

An experimental, Arte Povera and conceptual artist, Boetti combined art and daily life, the public and private, object, word and performance, questioning identity and its status (Gemelli, 1968; in 1972 he split his name into two parts, Alighiero and Boetti).

As a CalArts professor and darling of the Angeleno museum circuit, Charles Gaines — known for his incisive photographs, sculptures, videos, and drawings that tackle the relationships between aesthetics and identity politics — has become one of L.A.'s leading conceptual - art thinkers.

His emergence coincided with a spate of preachy conceptual art about identity politics, the body and sex, much of it visually meager.

Pop - art may have been one of the first contemporary art movements to appropriate consumerist imagery, but Kruger's postmodern conceptual art - which also appeared on billboards and T - shirts - was the first to explore and analyze how the mass media presents, distorts and objectifies issues concerning identity, sexuality and the portrayal of women.

Founded in 1979, the New York City - based practice established its identity through self - generated conceptual art and architecture installations, before reaching international prominence with large - scale cultural and civic projects such as the Blur Building at the Swiss Expo 2002 in Yverdon - les - Bains; the Institute of Contemporary Art, Boston; the Lincoln Center for the Performing Arts redevelopment project and the High Line, both in New York; as well as the Broad museum in Los Angeles and the recently completed Zaryadye Park near Red Square in Moscow, which opened in September 20art and architecture installations, before reaching international prominence with large - scale cultural and civic projects such as the Blur Building at the Swiss Expo 2002 in Yverdon - les - Bains; the Institute of Contemporary Art, Boston; the Lincoln Center for the Performing Arts redevelopment project and the High Line, both in New York; as well as the Broad museum in Los Angeles and the recently completed Zaryadye Park near Red Square in Moscow, which opened in September 20Art, Boston; the Lincoln Center for the Performing Arts redevelopment project and the High Line, both in New York; as well as the Broad museum in Los Angeles and the recently completed Zaryadye Park near Red Square in Moscow, which opened in September 2017.

Under Pressure charts an array of artistic and social concerns, from minimalism to pop and conceptual art, and more recent works addressing race, gender, and identity.

«A New American Flag,» Max Protetch Gallery, New York, NY, 1992 «Malcolm X: Man, Ideal, Icon,» Walker Art Center, Minneapolis, MN, 1992; traveled to the Institute of Contemporary Art, Boston, MA; The Valentine, The Museum of Life and History of Richmond, VA; Anacostia Museum, Washington DC; Nexus Contemporary Art Center, Atlanta, GA; Center for the Arts, Yerba Buena Gardens, San Francisco, CA «Mistaken Identities,» University Art Museum, University of California at Santa Barbara, Santa Barbara, CA, 1992; traveled to the Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues Museum Weserburg Bremenim Forum Langenstrasse, Bremen, Germany; Louisiana Museum of Modern Art, Humlebaek, Denmark; catalogue «Update «92,» White Columns, New York, NY, 1992 «Slow Art: Painting in New York, PS1 Museum,» Long Island City, NY, 1992 «Dream Singers,» Story Tellers: An African American Presence, coorganized by Fukui City Japan, and New Jersey State Museum, Trenton, NJ, 1992; traveled to the Tokushima Modern Art Museum, Tokushima City, and Otani Memorial Art Museum, Nishinomiya City, Japan; catalogue «All Words Suck,» Anders Tornberg Gallery, Lund, Sweden, 1992 «Allegories of Modernism: Contemporary Drawings,» Museum of Modern Art, New York, NY, 1992; catalogue «Doubletake: Collective Memory and Current Art,» Hayward Gallery, The South Bank Centre, London, UK, 1992; traveled to the Santa Monica Museum of Art, Santa Monica, CA; North Carolina Museum of Art, Raleigh, NC; catalogue «Knowledge: Aspects of Conceptual Art,» University Art Museum, University of California at Santa Barbara, Santa Barbara, CA; traveled to the Santa Monica Museum of Art, Santa Monica, CA; North Carolina Museum of Art, Raleigh, NC; catalogue

Given its dual identity of being and potentially not being, Andre's work clearly has a strong conceptual element, even though he was making it as far back as 1960, before conceptual art became a popular mind game.

Working in a number of media including painting, sculpture and photography, his art ranges from conceptual in orientation to representational in character and is generally concerned with issues of identity in relation to the categories of language, portraiture and spatial politics.

Shows in Chelsea, Downtown, Brooklyn and Queens galleries highlight artists pushing the boundaries with art that deals with urban displacement through sculpture and installations, preserving marginalized culture and the processes of painting and art making, creating identity for those who can not, and creating conceptual art about contemporary communication.

Described by the gallery as a «significant figure in the discourse around abstract painting, conceptual art, and identity politics, Pindell has explored the potential for abstract painting and process - based practices to address social issues throughout her career.»

These narratives included Pop and Conceptual Art, Minimalism, body - oriented performance art, the Pictures Generation, identity politics and psychologically - inflected figurative worArt, Minimalism, body - oriented performance art, the Pictures Generation, identity politics and psychologically - inflected figurative worart, the Pictures Generation, identity politics and psychologically - inflected figurative works.

His work is developped in a multitude of different materials, a formal and conceptual question on artistic identity and the creation of art.

Regular readers of Open Culture are likely to have a handle on some of the ways art stars Frida Kahlo and Andy Warhol explored identity, the course's third week theme, but what about Glenn Ligon, a living African American conceptual artist?

A pioneer of Conceptual Art and author of the renowned Inside the White Cube, Brian O'Doherty / Patrick Ireland's enduring obsession with themes of language, perception and identity are represented by a selection of his works from the IMMA Collection dating from 1954 onwards and include a major new Rope Drawing which is a recent gift to IMMA by the artist, entitled: The doors to good and evil and the windows to heaven - Christina's World, Rope Drawing No # 124, 2015.

He became notorious as a member of a generation of arab artists exploring the codes of conceptual art to question contemporary cultural identity and solo exhibitions of his work have been shown all over the world, and he has participated in numerous major group exhibitions — including, most recently, the 6th Quebec City Biennial and the 54th Venice Art Biennaart to question contemporary cultural identity and solo exhibitions of his work have been shown all over the world, and he has participated in numerous major group exhibitions — including, most recently, the 6th Quebec City Biennial and the 54th Venice Art BiennaArt Biennale.