Sentences with phrase «art as commodity»

Livingston engages the very notions of art as a commodity, presenting an often tongue - very - in - cheek mentality and aesthetic that is both intellectual and fun.

Elsewhere, cocking a snook at the idea of art as commodity, Matthew Darbyshire has redesigned the fair's ticket office in lurid pink (inspired, apparently, by the interior of a certain mobile - phone store) and Gabriel Kuri has replaced the ashtrays with sculptures.

It is not coincidental that this occurred as the art market rose to become a central force in defining value in art, fulfilling the perception of art as a commodity.

Would a reconnection with the wellspring of the unconscious once again link art to the depths of human experience in our age of materialism, superficiality, and art as a commodity?

From Warhol's silkscreened dollar signs to Damien Hirst's bejeweled 100 - million dollar skull, everyone wants a piece of the action; the borderline between art as commodity and commodity itself is officially blurred.

Conceived as a counter-balance to the notion of art as a commodity, which has spread in the media with ever - soaring auction records, the project further aims to provide a permanent forum for some of the inspiring female artists working today.

This self - conscious announcement of the work of art as a commodity relates to a concurrent body of work in Artschwager's practice (which, by coincidence, was presented the same year at another gallery in New York) wherein finely crafted wooden crates confounded the typical expectation of «art», offering a witty take on the art market and the impulse to collect.

His practice was largely concerned with two issues: the status of art as a commodity, and the impact of the museum on discourses surrounding artistic practice as well as on their reception.

Tate said it examined the idea of «art as commodity and of the seductive qualities of the wider art world», adding that she «calls into question the conventions of the gallery».

They signify art as commodity - fetish / object - of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition of the same shapes and imagery, the synthetic palette (hues typical of process inks used for photocolor separations), and the stacking (an allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque allusions to sexuality and eroticism - as in the greasy holes of Painting of Depth or the pornographic photographs of Untitled (1986).

Hence, his witty title, drawing attention to art as commodity.

For example, Piero Manzoni's Consacrazione dell «arte dell «uovo sodo (Artistic consecration of the hard - boiled egg, 1959), which he signed with an imprint of his thumb, or his cans of shit (1961) whose price was pegged to the value of their weight in gold, satirizing the concept of the artist's personal creation and art as commodity.

The Oakland - based artist explores art as commodity within a late - capitalist society, a theme that rings clear in Dark Matter, which comprises several racks of identical, dark - gray sweatshirts.

«While they were opposed to the idea of art as commodity, and disdainful of Pop Art,» said Rachleff, «most of the artists would have loved to make a living off of their art work.»

Lawler edges further toward a critique of art as commodity capitalism.

The answer is long and complex, and has much to do with the radical shifts in culture that have occurred over the past 25 years or so, both in Britain and the world: the unstoppable rise of art as commodity and the successful artist as a brand; the ascendancy of a post-Thatcher generation of Young British Artists (YBAs) who set out, unapologetically, to make shock - art that also made money; the attendant rise of uber - dealers such as Jay Jopling in London and Larry Gagosian in New York; and the birth of a new kind of gallery culture, in which the blockbuster show rules and merchandising is a lucrative sideline.

Not exact matches

Robinson broke out of the commodity business by offering such unexpected extras as 68 colors, state - of - the - art delivery technology that makes same - day delivery possible, and responsive field service.

In short, the practice is nothing more than moving an investor's money into different asset classes such as stocks, bonds, mutual funds, real estate, gold, other commodities, international firms, fine art, etc..

Therefore art, religion, faith, sex and whatever has been considered as sublime and spiritual was transformed as commodities in the shelves of the super-markets.

Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.

During the T'ang dynasty (ended 295; A.D. 907) and the Sung dynasty (349 - 678; A.D. 960-1279) foreign trade grew steadily as Arabs and Iranians took silk, art objects, Chinese porcelain, and other commodities to the Middle East and to Europe, returning with herbs, spices, pearls, and other products of those areas.

«Perhaps the time has now come... to take stock of where we are going... bearing in mind that sonar [what ultrasound was called at that time]... must never lose [its] subservience to the medical art and the paramount importance of the patient... Viewed with this sense of proportion sonar comes as a commodity only, although with many uses.

A brilliant work of popular art, it redefined nostalgia as a marketable commodity and established a new narrative style, with locale replacing plot, that has since been imitated to the point of ineffectiveness.

Unemployed art school graduates Mingming and Yue take turns filming each other with a small camera, exploring a range of issues rarely shown in any national cinema with such deadpan accuracy — from the complex waters of female friendship to «pussy» as a commodity, from the desire to use filmmaking as a weapon to the decision to make a baby — an up - in - your face, playful, sassy deconstruction of what it means to be a young woman now.

For the small cluster of game creators that regard the form as art, there is a vastly larger group that sees it as a line item on a spreadsheet — pure commodity.

This isn't some commodity; I treat it as a work of art that's meant to be shared with future generations.»

Art is essential and potentially worth money, but unless it's specifically commissioned by a client, it's rarely developed as a commodity.

The «satellite» portion may be allocated 100 % to domestic and international equities strategies and alternative strategies such as futures, commodities, options, FX or even exotic investments such as vintage cars and art.

Alas if one thinks it haughty to value art as a collectible commodity, then it is not.

As the market trend in painting favors non-compositional process abstraction (somewhat reductively classified as Zombie Formalism), the return to New Image Painting or Bad Painting or simply the art of making pictures becomes a radical refusal of the passive blankness of art made as an easy commoditAs the market trend in painting favors non-compositional process abstraction (somewhat reductively classified as Zombie Formalism), the return to New Image Painting or Bad Painting or simply the art of making pictures becomes a radical refusal of the passive blankness of art made as an easy commoditas Zombie Formalism), the return to New Image Painting or Bad Painting or simply the art of making pictures becomes a radical refusal of the passive blankness of art made as an easy commoditas an easy commodity.

The salon style group show Framed Practices explores how contemporary art frames itself to fit within the archaic structure of consumer art while accepting art practice as a commodity.

Bickerton rose to prominence as part of the 1980's New York East Village art scene, with works that layered the reductive formalist aesthetic of minimalism with signs, symbols, and logos, as a means to examine commodity and value.

Serial work removes the issue of uniqueness and its requisite connoisseurship, and therefore creates more reliable price points in the tracking of works of art as tradable commodities.

«Simultaneously an art object, a memorabilia item, and a hyper - intimate autograph,» he writes, «CTA works (and super goods as a whole) are a highly potent bundle of commodities nestled within themselves, able to be extracted individually or allowed to appreciate in value simultaneously as a diversified portfolio.»

2018 As Far as the Eye Can See, New Insight into the Würth Collection, Kunsthalle Würth, Künzelsau, Germany (catalogue) Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, TN (catalogue) American Abstraction, A Postmodern vision of Abstract Expressionism, Sam Francis, Frank Stella, Peter Halley, Galerie Retelet, Monaco Abstract USA *, QG Gallery, Brussels KEDEUM - KODEM - KADIMA, The Center for Contemporary Art, Tel Av (installation) Emerald City, K11 Foundation, Hong Kong (installation) Geometries, Onassis Cultural Centre, Athens Postmodernism / Modernism, Robert Mangold / Peter Halley, Maruani Mercier, Brussels Brand New: Art and Commodity in the 1980s, Hirschhorn Museum and Sculpture Garden, Washington, DC (catalogue) Peter, Paul, and Mary, Adrian Rosenfeld Gallery, San Francisco ROYGBIV, Kate Werble Gallery, New YoAs Far as the Eye Can See, New Insight into the Würth Collection, Kunsthalle Würth, Künzelsau, Germany (catalogue) Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, TN (catalogue) American Abstraction, A Postmodern vision of Abstract Expressionism, Sam Francis, Frank Stella, Peter Halley, Galerie Retelet, Monaco Abstract USA *, QG Gallery, Brussels KEDEUM - KODEM - KADIMA, The Center for Contemporary Art, Tel Av (installation) Emerald City, K11 Foundation, Hong Kong (installation) Geometries, Onassis Cultural Centre, Athens Postmodernism / Modernism, Robert Mangold / Peter Halley, Maruani Mercier, Brussels Brand New: Art and Commodity in the 1980s, Hirschhorn Museum and Sculpture Garden, Washington, DC (catalogue) Peter, Paul, and Mary, Adrian Rosenfeld Gallery, San Francisco ROYGBIV, Kate Werble Gallery, New Yoas the Eye Can See, New Insight into the Würth Collection, Kunsthalle Würth, Künzelsau, Germany (catalogue) Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, TN (catalogue) American Abstraction, A Postmodern vision of Abstract Expressionism, Sam Francis, Frank Stella, Peter Halley, Galerie Retelet, Monaco Abstract USA *, QG Gallery, Brussels KEDEUM - KODEM - KADIMA, The Center for Contemporary Art, Tel Av (installation) Emerald City, K11 Foundation, Hong Kong (installation) Geometries, Onassis Cultural Centre, Athens Postmodernism / Modernism, Robert Mangold / Peter Halley, Maruani Mercier, Brussels Brand New: Art and Commodity in the 1980s, Hirschhorn Museum and Sculpture Garden, Washington, DC (catalogue) Peter, Paul, and Mary, Adrian Rosenfeld Gallery, San Francisco ROYGBIV, Kate Werble Gallery, New York

The spontaneity that came with the original is certainly lost as Chalet has gone from a surprise to a commodity, as apparently all art in the 21st century must.

John Miller, «The Commodity as a Country Music Theme,» Journal (Los Angeles Institute of Contemporary Art), no. 41 (Spring 1985): 26 — 30, quoted in Lionel Bovier, «John Miller,» Parkett, no. 57 (December 1999): 164.

Reflecting on Hammons's mid-1970s sculptures made with grease, bones, hair and rubbish, curator Lowery S. Sims wrote in Art As a Verb (1988): «[He] confronts our commodity - predicated notion of the dear, the beautiful, and transforms our perception of and reception to the humble detritus of our urban society.»

Cooper's classic New York dealer approach, one that places the artist first, began to seem almost quaint as art became a commodity and auction houses, business - savvy artists and aggressive big - box gallerists began to rule the scene.

Purity, another key modernist mark espoused by the critic - theorist Clement Greenberg, is also travestied as Vaisman deflates the spiritual, essentialist aura associated with reductive abstraction (as in the art of Barnett Newman or Robert Ryman) and instead makes reference to mass production, commodity fetishism, and the problem of representation in the postmodern, post-industrial arena.

«I am really looking at the way that the art work as a commodity announces itself as a thing to be bought.

The light boxes look back to the formalist's art object and Minimalism's use of industrial materials, but also to art as sheer commodity in a gallery, as with Louise Lawler.

While Duchamp's readymades of the early 20th century took the industrially - produced object out of circulation, by the end of the century the readymade as «commodity sculpture» had fully entered another system of circulation: the art market.

Unlike more recent attempts to frame the personal collecting habits of an artist as a manic embodiment of commodity fetishism in the era of high capitalism, this exhibition asks viewers to reflect upon the correspondences between artist and acquisition and the complicated relationship that contemporary art exposes between taste, influence, and popular culture.

In the 21st century - capitalism, art is treated as a luxury commodity and there is a market - led interest to maintain old hierarchies.

And, while sound is integral to the history of modern art — remember dada's swells of noise, surrealism's fascination with American jazz and the swing and syncopation that suffused postwar American painting — the antiseptic and visual logic of the white cube and the art - as - commodity system it underscores, remain stubbornly intact.

His recent exhibitions include retrospective exhibitions at BALTIC Centre for Contemporary Art, Gateshead (2015), and at La Casa Encendida, Madrid (2016), as well as group exhibitions Brand New: Art and Commodity in the 1980s at Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2018), and A Page from My Intimate Journal (Part I) at Gordon Robichaux, New York (2018).

One thing, though, can we stop referring to art - as - an - object as a commodity.

One can't help but recall Marx's critique of the objective interchangeability of commodities under capital, leading to a situation in which, as Mikhail Lifshitz put it, «the greatest work of art is equal to a certain amount of manure.»

Living in a 1790s farmhouse and managing 180 acres with pigs, chickens, goats, rabbits, apiaries, greenhouse, and gardens, Nadin bills his enterprise as «art and agriculture,» selling the fruits of his land and his studio to the city as commodities seemingly equivalent in his mind.