Sentences with phrase «land art such»

[1] He showed founders of conceptualism, minimalism and land art such as Carl Andre and Lawrence Weiner.

Not exact matches

The IRS also provides tax breaks for people donating other assets, such as certain wines, art and land.

After falling in love with New York, Rodriguez was accepted into NYU's Tisch School of Arts and had four years of intense theater training at both the Atlantic Theatre Company and Experimental Theatre Wing, landing roles on the stage in works such as «Casa Blue: The Last Moments in the Life of Frida Kahlo.»

«This is a celebration of Canadian contemporary art internationally: asking us to consider their varied approaches and styles while offering insight into larger concepts such as land, identity, culture, and politics.»

The vitrines display sculptures with titles such as Historical Land Mind and Sandmandia, which are meant to be seen from above or in the round, while the niches present several works, including Elusive Combinations and Glorious Assemblage, whose branch - like forms and scroll - like bases evoke the art of bonsai.

Sikander has also participated in significant international group shows such as Our Land / Alien Territory (special program of the 6th Moscow Biennale of Contemporary Art), Manege, Moscow (2015); Infinite Challenge, National Museum of Modern and Contemporary Art, Seoul, Korea (2014); Dhaka Art Summit (2014); The 13th Istanbul Biennial, Turkey (2013); The 5th Auckland Triennial, Auckland (2013); the Sharjah Biennale 11, Sharjah Art Foundation, Sharjah (2013); Taswir: Pictorial Mappings of Islam of Modernity, Martin - Gropius - Bau, Berlin (2009); Without Boundaries, Seventeen Ways of Looking, the Museum of Modern Art, New York (2006); and the 51st International Art Exhibition, La Biennale di Venezia, Venice, Italy, (2005).

Mr. Pumhösl's reasons for drawing inspiration from such an unlikely artifact remain obscure, but it's interesting to ponder the connections between two myth - saturated realms: that of the Holy Land and that of high art.

During the thirties in ever increasing numbers due to Hitler's rise in power and his hostility towards modernism in art, European avant - gardists such as Piet Mondrian, Fernand Leger and Lazio Moholy - Nagy landed on these shores and supported and joined this courageous group of abstract artists.

Having graduated from Syracuse University in the state of New York, he landed a job as a technical director at the pioneering video - studio Art / Tapes / 22 in Florence, where he encountered video artists such as Nam June Paik, Bruce Naumann and Vito Acconci.

His Spatialist art prefigured later international developments such as environmental art, performance art, land art and Arte Povera.

These land art or «earth art» environmental scale sculpture works exemplified by artists such as Robert Smithson, Michael Heizer, James Turrell (Roden Crater).

The ZERO movement gained momentum internationally and grew to include artists such as Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni and Jesús Rafael Soto, the myriad practices of its participants anticipating the future movements of Minimalism, Conceptualism and Land art.

Read more about Victoria's new project Lay of the land (and other such myths), which launches at the London Art Fair 17 - 22 January 2017.

Her work has also been featured in such international surveys as the Biennale of Sydney (1976); Documenta 6, Kassel, Germany (1977); the Venice Biennale (1978, 1980, 2001), and more recently The Last Freedom: From the Pioneers of Land Art of the 1960s to Nature in Cyberspace, Ludwig Museum, Koblenz, Germany (October 16, 2011); Systems, Actions & Processes: 1965 - 1975, PROA Foundation, Buenos Aires (through September, 2011); Erre: Variations Labyrinthiques, Centre Pompidou, Metz (September 12, 2011 - March 5, 2012); and Light Years: Conceptual Art and the Photograph: 1964 - 1977, Art Institute of Chicago (December 11, 2011 — March 11, 2012).

In 1965, Dwan established a gallery in New York where she presented groundbreaking exhibitions of such new tendencies as minimalism, conceptual art, and land.

Beginning as a young artist in São Paulo, she studied the Japanese art magazine Bijutsu Techou that introduced her to international movements such as Conceptual Art, Minimalism, Land Art and Arte Poveart magazine Bijutsu Techou that introduced her to international movements such as Conceptual Art, Minimalism, Land Art and Arte PoveArt, Minimalism, Land Art and Arte PoveArt and Arte Povera.

Robert Smithson, an artist associated with the Land Art and Post-Minimalist movements, used natural objects in both his large - scale land installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locatiLand Art and Post-Minimalist movements, used natural objects in both his large - scale land installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locatiland installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locations.

More recently, land artists such as Robert Smithson and Nancy Holt tried the opposite, stepping outside and fitting their art to the shape and scale of the land itself.

This book reveals how each brought together Arte Povera, Anti-Form, Conceptual and Land art, whilst challenging such categories and introducing innovative curatorial strategies.

It's a really interesting approach to see Land art entering the white cube gallery space in such a way.

This incorporated not only art as action, but also, in the west, such movements as conceptual art, land art, arte povera, and minimalism.

Envy is a deadly sin, but it's hard to feel otherwise when announcements such as the following land in my inbox: The Denver Art Museum has commissioned 17 artists to create work that responds to and interacts with the dramatic...

His photographs are made in various locations around North America, with many of them shot during artist residencies, such as The Banff Center for the Arts (Canada), I - Park Foundation (CT), Headlands Center for the Arts (CA), The Center for Land Use Interpretation (UT), and The MacDowell Colony (NH), among others.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYArt NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYArt NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYArt NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYart did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYArt NYC).

At the same time, essential characteristics of art movements such as Arte Povera, Land Art and Minimalism recur and intertwine with current metaphors, narrations, and with the process of generating new meaninart movements such as Arte Povera, Land Art and Minimalism recur and intertwine with current metaphors, narrations, and with the process of generating new meaninArt and Minimalism recur and intertwine with current metaphors, narrations, and with the process of generating new meanings.

Important Neo-Dada works include Washington Crossing the Delaware (1953, Museum of Modern Art NYC) by Larry Rivers; Combines such as Bed (1955, nail - polish, toothpaste, paint, pillow, quilt, sheet, Museum of Modern Art NYC) and First Landing Jump (1961, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC) by Robert Rauschenberg; Target with Plaster Casts (1955, David Geffen Collection), Three Flags (1958, Whitney Museum of American Art), and Ale Cans (1964, Private Collection) by Jasper Johns.

Video thus was part of a more general questioning of the traditional art object through nonmarketable art forms such as performance, conceptual art, land art and body art.

His massive installation in Joshua Tree explores desert phenomenology in a related way to artists of the Land art movement such as Michael Heizer and Walter de Maria, whose work has long been championed by LACMA Director Michael Govan, although its aesthetics and economies are substantially different.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

The gallery was founded in 1967 and specializes on positions of the 1960s and 1970s, such as Concept Art, Minimal Art, Land Art, and Arte Povera.

Drawing from the male - dominated field of Land Art infused with her political sensibility and recurring references to her Latin American heritage, her experiments in film and video are celebrated for their prescient and piecing take on such relevant issues as campus sexual assault, environmentalism, and the challenges of preserving identity in a homogenizing society.

Cichocki curated one such group exhibition, the vibrant and unflinching Desert Island, at Coachella Valley Art Center in the city of Indio, on view through April 20, and featuring the work of some 24 artists in photography, painting, sculpture, installation, performance, and video, all with their own abiding interests in the region, not all of whom live there, but all of whom do their best, most explosive and salient work in the desert lands.

Cuban - born American artist Ana Mendieta brilliantly synthesized and advanced emergent art forms of the early 1970s, such as performance, body art, land art and film, with personal and political explorations of the gendered and raced body, ancient cultures and belonging.

Efforts to co-generate autonomous spaces for artistic production, community action, and critical dialogue have resulted in collectively run community centers, pedagogical spaces, and multi-disciplinary events such as the October Surprise (2004), Arts in Action (2000 - 2004), Decolonize LA (2016), and at Land's Edge (2016 - 2017).

It is actively engaged in promoting and enhancing, through exhibitions and catalogues, Arte Povera and Conceptual Art, in particular Boetti, Calzolari, Paolini and Pistoletto; Land Art, with Christo and Long; some of the greatest artists and photographers such as Fontana, Motonaga, Beard, Ghirri, Kiarostami and Neshat.

Since 1997, he has become known for creating art in the form of websites, which he frequently connects to art historical movements such as minimalism, land art and conceptualism.

Photographers such as the land - art artist Hamish Fulton or the former Becher pupil Axel Hütte see themselves here as wanderers and travellers through the world.

Thus the events of his career are sandwiched between world events (like Kennedy's 1963 «Ich bin ein Berliner» speech, or the 1969 moon landing) and art historical ones (such as Christo and Jeanne - Claude wrapping the Bern Kunsthalle in 1968, or Robert Smithson building the Spiral Jetty in 1970).

Drawing inspiration from Land Art of the 1970s, Harlan avails himself of the most common materials at hand — including such hardware store staples as ladders, shipping palettes, and one - ton metal pipe — in his large industrial works.

Plus, she was key in helping artists execute the most outrageous works — including important land art pieces such as Robert Smithson's «Spiral Jetty.»

Pushing beyond the post-war emphasis on materiality, Seung - taek's work uses «notions of negation» and nods to such disparate influences as Korean shamanic rites and land art in the West simultaneously, as his gallery states.

Lucio Fontana (1899 — 1968) radically transformed our conception of painting, sculpture and space by transcending the two - dimensionality of the canvas, foreshadowing many movements of the 1960s and»70s such as Arte Povera, conceptualism and land art.

In the last few years Allora & Calzadilla have taken part in numerous major international solo exhibitions, such as: One Person, One Watt, Walker Art Center, Minneapolis, 2004; Chalk, ICA Boston, 2004; Land Mark, Palais de Tokyo, Paris, 2006; Clamor The Moore Space, Miami, 2006/07, and The Serpentine Gallery, London, 2007; Wake Up, The Renaissance Society, Chicago, 2007; Jennifer Allora & Guillermo Calzadilla, Whitechapel Laboratory, London, 2007; and Allora & Calzadilla, Kunsthaus Zürich, 2007.

Other examples of the Neo-Dadaist-style «junk art» include Hudson River Landscape (1951, Whitney Museum of American Art) and Australia (1951, MoMA, NY), both by David Smith (1906 - 1965); Untitled (wood, metal pieces, nails)(1960, Museum of Modern Art NYC) by Jesus Rafael Soto (b. 1923); and certain «combines» by Robert Rauschenberg (1925 - 2008), such as First Landing Jump (made from: painting, cloth, metal, leather, electric fixture, cable, oil paint, board)(1961, MoMA, Nart» include Hudson River Landscape (1951, Whitney Museum of American Art) and Australia (1951, MoMA, NY), both by David Smith (1906 - 1965); Untitled (wood, metal pieces, nails)(1960, Museum of Modern Art NYC) by Jesus Rafael Soto (b. 1923); and certain «combines» by Robert Rauschenberg (1925 - 2008), such as First Landing Jump (made from: painting, cloth, metal, leather, electric fixture, cable, oil paint, board)(1961, MoMA, NArt) and Australia (1951, MoMA, NY), both by David Smith (1906 - 1965); Untitled (wood, metal pieces, nails)(1960, Museum of Modern Art NYC) by Jesus Rafael Soto (b. 1923); and certain «combines» by Robert Rauschenberg (1925 - 2008), such as First Landing Jump (made from: painting, cloth, metal, leather, electric fixture, cable, oil paint, board)(1961, MoMA, NArt NYC) by Jesus Rafael Soto (b. 1923); and certain «combines» by Robert Rauschenberg (1925 - 2008), such as First Landing Jump (made from: painting, cloth, metal, leather, electric fixture, cable, oil paint, board)(1961, MoMA, NY).

The gallery is showing drawings, paintings and installations by artists such as Paul Noble, Simon Starling and Joseph Beuys, as well as photographs of Long's Land Art, which echoes Moore's preoccupation with found objects - evident in his maquettes made of small pieces of bone, stone, and shells.

From late 1960s onwards, Knight Lawrence's work landed in the hands of major collectors and collections, such as MoMA, Hampton University, St. Louis Art Museum and Francine Seder's gallery in Seattle.

Arguably the most novel form of 20th century public art, Land Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 193art, Land Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 193Art is exemplified by the monumental earthworks, such as Spiral Jetty created in Utah (1970) by Robert Smithson, and the encirclement of eleven Florida islands in pink fabric (1983) by Christo and Jeanne - Claude (b. 1935).

In terms of form, Tuazon is close to artists of Minimalism and Land Art, such as Donald Judd or Carl Andre.

The exhibition associates this idea of «offshore art» with past developments in Land Performance and Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smithsart» with past developments in Land Performance and Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert SmithsArt of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smithson.

In addition to the many arte povera works, the exhibition includes examples of related contemporary practices such as conceptual art, land art and post-minimalism.