Sentences with phrase «take it or leave it artists»

The anthology features writings by and about Take It or Leave It artists Dara Birnbaum, Mark Dion, Felix Gonzalez - Torres, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Matt Mullican, and Adrian Piper, among others.

Included works by Judith Barry, Gretchen Bender, Dara Birnbaum, Jimmie Durham, Robert Gober, Felix Gonzalez - Torres, and other Take It or Leave It artists.

Includes works by Take It or Leave It artists Sherrie Levine, Louise Lawler, Adrian Piper, and Mike Kelley.

Included Take It or Leave It artists Judith Barry, Gretchen Bender, Andrea Fraser, Louise Lawler, Allan McCollum, and Haim Steinbach.

Included Take It or Leave It artists Judith Barry, Dara Birnbaum, Mary Kelly, Silvia Kolbowski, Barbara Kruger, Sherrie Levine, and Martha Rosler.

Included work by Take It or Leave It artists Barbara Kruger, Zoe Leonard, and David Wojnarowicz.

Not exact matches

It seems the trigger to a lot of her problems was her dad leaving the family and her world collapsing as she knew it and, as an artist taking that pain or other pain / frustration and channeling it into her music in a real and no BS kind of way.

A work of art is offered, and the artist accepts that the audience can take it or leave it.

Finishes by looking at back to back stem and leaf diagrams using data of number of weeks of Top 40 singles from Ed Sheeran and One Direction (taken from the official chart on 29/12/14)- I recommend finding the most up to date data for this, or more up to date artists, to ensure maximum pupil engagement:) Step - by - step, fun and real life lesson for stem and leaf diagrams for KS3 and KS4

Katz's studio, which he moved into in the late»60s, is one of those rare remaining live - work artist spaces left in the neighborhood — it hasn't been chopped up or redecorated or besieged by interior designers; it's just this charming, warm, linoleum - floored loft space that takes up its allotted section of the building.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or cardboard taken from packing boxes at the bakery where he worked.

Assembling works by thirty - six artists from the late 1970s to the present, «Take It or Leave It» underscores the dynamic and often blurry intersection of appropriation and institutional critique.

Others were «Take It or Leave It: Institution, Image, Ideology» at the Hammer Museum (2014), which surveyed the use of appropriation and institutional critique in art from the 1980s; and «Jack Goldstein X 10,000» at Orange County Museum of Art (2012) which was a retrospective on the artist who helped initiate an avant - garde art movement referred to as the «Pictures Generation.»

Or rather, take how they took the «open call» term literally, picking artists for solo exhibitions entirely through the voicemail pitches left on a specially set up ansaphone.

We witness artists» direct participation in the goal of increasing diversity in museums in the work of many in Take It or Leave It, including Nayland Blake, Jimmie Durham, Robert Gober, Renée Green, Barbara Kruger, Louise Lawler, Zoe Leonard, Glenn Ligon, Sue Williams, Fred Wilson, and of course the early feminists.

These items take the form of material fragments, sketches, abandoned projects, or remnants of research: the collateral things either left behind or brought to ISCP upon arrival, foregrounding each artist's stay or marking its trace.

Another important basis for Take It or Leave It's methodology of tracing critical impulses over time stems from our desire to mine unexpected parallels between artists.

she homes in on the very question that has driven much of the curatorial impulse of Take It or Leave It and, further, that led to our decision to present work made over the course of an artist's career, including recent work, whenever possible.2

Having pulled elements from everyday scenes, each artist then created new images that take us away from the original setting, and leave us with little or no representational reference to the initial view.

It is an endearing mixture of high and low culture that leaves you puzzled for a bit, as you're not sure whether to like it or not, but when it comes to their execution, there is no doubt that the artist took figurative painting to a whole new level, and one that we certainly haven't seen in a while too — if we don't take art history books into consideration.

In classic chicken - or - the - egg fashion, some artists said they could take or leave the extra room but said their dealers were opening bigger spaces to entice additional artists — and collectors.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

In hopes of replicating the multiplicity and subjectivity invoked (and evoked) by the artists featured in Take It or Leave It, GRAPHITE has decided to cull testimonials from Hammer Student Association members who attended that evening:

It also takes into consideration the inclusion of artists from islands on the fringes of the region, or that may often be left out of the larger conversations which usually take place in relation to Caribbean contemporary art.

As a part of the Hammer Museum's ongoing exhibition Take It or Leave It: Institution, Image, Ideology, prominent artists Judith Barry, Dara Birnbaum, Andrea Fraser, and Mary Kelly were called together on February 12 to discuss the panel's namesake: «The Future of Institutional Critique.»

«Take It or Leave It,» Ellegood explains, aims to challenge power structures and social - cultural institutions — be it politics, media, racism, sexism or art museums themselves — through artists who borrow and re-contextualize images, text and other elements from pop culture and fine art, among other places, to make a conceptual point.

And it makes a dramatic beginning to «Take It or Leave It,» the museum's heady and provocative new exhibition that opens Sunday with work from the late 1970s to the present in a variety of media by 35 American artists, including Mike Kelley, Paul McCarthy, Adrian Piper, Sherrie Levine and David Wojnarowicz.

During the show, The artists will designate part of the gallery as a «Free Store,» where visitors are invited to bring in belongings that they wish to leave behind or take away anything that they like.

Hammer Projects: Andra Ursuta opens March 7, 2014 February 26, 2014 Sabrosonico: All - ages courtyard concert featuring Toy Selectah, Sonidero Travesura, DJ Chucuchu & More February 25, 2014 Hammer Museum Announces Made in L.A. 2014 Artists February 19, 2014 Hammer Museum Will Present Three Awards in Conjunction with Made in L.A. 2014 January 30, 2014 Curator Aram Moshayedi Receives Grant from The Andy Warhol Foundation for the Visual Arts January 22, 2014 Terry Riley: In C, a Performance Installation by The Industry January 16, 2014 Take It or Leave It: Institution, Image, Ideology January 8, 2014 Hammer Projects: Nathaniel Mellors December 16, 2013 Tea and Morphine: Women in Paris, 1880 to 1914 Opens January 26, 2014 December 11, 2013 Opening Soon: JG, a film by Tacita Dean & Kelly Nipper: Black Forest December 9, 2013 A Trip to Japan in Sixteen Minutes, Revisited November 18, 2013

Launched in 2017, the Take It or Leave It digital archive extends the life of this significant exhibition, with a gallery of artwork images and the associated didactic label texts from the installation at the Hammer Museum; essays, artist biographies, and a bibliography and chronology from the Take It or Leave It exhibition catalogue; and a variety of other resources meant to encourage further research.

Moreover, there are projects in Take It or Leave It in which artists collaborated directly, including works coauthored by Mark Dion and Jason Simon, Jimmie Durham and Maria Thereza Alves, Robert Gober and Sherrie Levine, and Kelley and McCarthy.

Around the mid-1950s, the artist began to make abstract paintings using his fingers or sticks, combs, leaves and other makeshift utensils to push oil paint around the surfaces of Masonite boards or pieces of cardboard taken from packing boxes at the bakery where he worked.