Sentences with phrase «artist space movement»

From the seminal performance work by Rachel Rosenthal, the early queer video work of EZTV, boundary breaking art installations by Barbara T. Smith, the pioneering media explorations by Electronic Café International, to the feminist media interventions of Suzanne Lacy and Leslie Labowitz - Starus, these five influential and often overlooked artists and collaborative arts groups were fundamental to charting the course for the artist space movement and its vision of egalitarian artistic production and reception.

This groundbreaking exhibition, curated by Alex Donis, features the works of five seminal artists and artist groups: Rachel Rosenthal, Barbara T. Smith, Suzanne Lacy / Leslie Labowitz - Starus, Electronic Café International and EZTV; all who have been central to the alternative artist space movement in Southern California since the early 1970's.

Not exact matches

Upon careful analysis, at least ten such points become apparent: (1) Blake alone among Christian artists has created a whole mythology; (2) he was the first to discover the final loss of paradise, the first to acknowledge that innocence has been wholly swallowed up by experience; (3) no other Christian artist or seer has so fully directed his vision to history and experience; (4) to this day his is the only Christian vision that has openly or consistently accepted a totally fallen time and space as the paradoxical presence of eternity; (5) he stands alone among Christian artists in identifying the actual passion of sex as the most immediate epiphany of either a demonic or a redemptive «Energy,» just as he is the only Christian visionary who has envisioned the universal role of the female as both a redemptive and a destructive power; (6) his is the only Christian vision of the total kenotic movement of God or the Godhead; (7) he was the first Christian «atheist,» the first to unveil God as Satan; (8) he is the most Christocentric of Christian seers and artists; (9) only Blake has created a Christian vision of the full identity of Jesus with the individual human being (the «minute particular»); and (10) as the sole creator of a post-biblical Christian apocalypse, he has given Christendom its only vision of a total cosmic reversal of history.

In the early 1960s, while much of America and Europe was fascinated with the new wave of Pop Artists, Southern California quietly gave rise to a very different aesthetic revolution known as the Light and Space movement.

Los Angeles - based artist Mary Corse creates minimalist paintings, and is associated with the Light and Space movement that emerged in Southern California in the 1960s.

Mullican arrived in New York in 1973, when the artist - run alternative space movement was under way, with 112 Greene Street (later White Columns), Artists Space, P.S. 1, the Kitchen and Franklin Furnace eventually attracting a broad range of artists, experimental filmmakers, dancers and musicspace movement was under way, with 112 Greene Street (later White Columns), Artists Space, P.S. 1, the Kitchen and Franklin Furnace eventually attracting a broad range of artists, experimental filmmakers, dancers and musArtists Space, P.S. 1, the Kitchen and Franklin Furnace eventually attracting a broad range of artists, experimental filmmakers, dancers and musicSpace, P.S. 1, the Kitchen and Franklin Furnace eventually attracting a broad range of artists, experimental filmmakers, dancers and musartists, experimental filmmakers, dancers and musicians.

«Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968).

In this sense, her work is more aligned with artists who prioritized sensorial experience, like James Turrell, Mary Corse, and others of the Light and Space movement of the 1960s, than with film or other such time / media - based art.

Patterns of delicate brushwork, poured paint, and a unique use of space and palette create a complex pathway made from vivid colors and rhythmic movement, inherent to the artist's work.

Founded in 1970 as» 112 Greene Street», White Columns was established as an independent platform for artists and was a pioneering force in the alternative art space movement of the 1970s and 1980s.

It helps explain how a single movement has struck different people as formalism or action painting, the pure representation of space or an artist's self - representation.

Inspired by European artists such as Mondrian and Kandinsky, their bold experiments with space, movement and colour radically transformed the relationship between art and viewer.

Terms such as space, perspective, creativity, movement, and abstraction itself are being explored and illustrated by the artist via his own popular vernacular.

Los Angeles — based artist Amir H. Fallah, however, postulates the experience of time and space as something more solid and tangible, akin to a structure engineered for indiscriminate movement back and forth.

Ramaya Tegegne's research focuses on the movement of gossip amongst artist communities, and her performance lecture Bzzz Bzzz Bzzz (New Jerseyy) compiles oral testimonies to narrate a short history of New Jerseyy, an artist - run space in Basel, Switzerland.

This event is part of Decolonize This Place, a three - month project by MTL + that sees Artists Space Books & Talks converted into a movement space that is action - oriented around indigenous struggle, black liberation, Free Palestine, global wage workers and de-gentrificaSpace Books & Talks converted into a movement space that is action - oriented around indigenous struggle, black liberation, Free Palestine, global wage workers and de-gentrificaspace that is action - oriented around indigenous struggle, black liberation, Free Palestine, global wage workers and de-gentrification.

The artist Larry Bell was one of the key figures to emerge as part of the 1960s Light and Space movement, making spare, geometric sculptures that married Minimalism with the high - tech materials then appearing in Southern California's aerospace industry.

The alternative - space movement of the last few decades has been characterized by artists developing their own cultural infrastructure to support changing methods of production, in particular performance and emerging technologies.

Almine Rech Gallery - Grosvenor Hill is pleased to present «Plastic Show», a selection of works by seminal California artists from the Light and Space movement: Mary Corse (b. 1945), Robert Irwin (b. 1928), Craig Kauffman (1932 — 2010), John McCracken (1934 — 2011), and DeWain Valentine (b. 1936)-- five artists who, through a series of individual explorations, went on to investigate the broad potential that plastics (i.e., synthetically produced resins) could yield.

A member of the Light and Space movement since the late 1960's, alongside artists such as Robert Irwin, James Turrell, Mary Corse, Helen Pashgian, DeWain Valentine, Peter Alexander and Larry Bell, Laddie John Dill remains committed to exploration and experimentation.

Robert Irwin is a pivotal figure in the Los Angeles art scene for the last five decades and founding member of the «Light and Space» movement, but also one of the most influential artists of the 20th century.

Influenced by the Post-Impressionists, Vlaminck and his fellow artists rejected traditional three - dimensional space and sought to build composition with the movement of color planes.

These three artists are all associated with the Light and Space movement in Southern California during the 1960's and 1970's.

The selection also illustrates some of the art - historical traditions in L.A. such as 1960s Pop art, the Conceptual art of the 1970s, Minimalism with its Finish Fetish, the Light and Space movement, the great and important post-conceptual movements, and not least all the artists with a social and political engagement.

Discover how artists have been inspired by the bicycle and movement by engaging in this interactive space.

This period coincided with the blossoming of the abstract expressionist movement and the pinnacle of Still's 20 - year quest to redefine painting in which «space and figure,» the artist wrote, «had been resolved into a total psychic entity.»

Castellani's work was centrally featured in ZERO: Countdown to Tomorrow, 1950s - 60s, a 2014 - 15 exhibition at the Solomon R. Guggenheim Museum, New York, that focused on Group Zero, an international network of artists who pioneered new approaches to light, movement, and space in the aftermath of World War II.

The artists of Le Groupe Espace were concerned with space in art and were influenced by the pre-war movements of Constructivism and Neo-Plasticism.

In this brief essay from Phaidon's Art in Time, we explore the diversity of the 20th - century movement's key artists to celebrate the opening of Marisa Merz's first major US retrospective, «The Sky is a Great Space» at the Met Breuer.

Panel discussion about time, space and movement with the artists, Pavel Pyś (Exhibitions and Displays Curator, Henry Moore Institute) and Professor John Mowitt (University of Leeds, School of Fine Art).

By investigating the intersection of American art, East Asia, and the woodblock print movement, Visions of the Orient explores the various ways that «the orient» served as a liberating professional space for these female artists and as a place of creative inspiration.

He has studied the work of artists in the Southern California Light and Space movement of the late 1960s including Larry Bell, Robert Irwin, James Turrell, and Doug Wheeler, but his materials diverge from their art.

The artists created a new model of depicting space by using only the relationship of color and line without texture or shadow to achieve movement that projects and recedes.

The artist aimed to free the figure within space, focusing on singular movements and sometimes using double - exposures to create a slow - motion effect.

Inspired early in his career by modern dance — notably through his relationship with members of New York City's influential Judson Church dancers — and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large - scale sheet - metal pieces by navigating the space around them.

At the entrance to Gallery 2, viewers encounter Olafur Eliasson's Your Compound Eye, the artist's first kaleidoscope and among his earliest experiments with modes of perception relating to space, time, and movement.

ET: Collectivity, political and social movement, public space - you've used these themes to frame a concept of «ecstatic resistance,» which most recently took form as an exhibition of other artists» work.

The very first photograph taken by Woodman, Self - portrait at Thirteen, 1972, shows the artist sitting at the end of a sofa in an un-indentified space, wearing an oversized jumper and jeans, arm loosely hanging on the armrest, her face obscured by a curtain of hair and the foreground blurred by sudden movement, one hand holding a cable linked to the camera.

She calls herself a writer, vocalist, and sound artist, but what she really is is an intercultural mestiza — at once an interloper and a translator, an authentic and an inauthentic voice of «the Other,» occupying a space that most would recognize as peripheral, but is actually movement itself.

Coinciding with the artist's 80th birthday, Los Angeles's Kohn Gallery will present a survey exhibition of the Los Angeles artist Joe Goode, a veteran of the Californian light and space and conceptual art movements.

Recognized as a defining force of the alternative space movement, MoMA PS1 stands out from other major arts institutions through its cutting - edge approach to exhibitions and direct involvement of artists within a scholarly framework.

Soul of a Nation: Art in the Age of Black Power creates a space for an array of African American artists who were deeply engaged in the aesthetic and social justice issues that emerged from the civil rights and Black Power movements.

Making Space (until 13 August 2017) shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968).

She is one of the originators of the alternative space movement, beginning with Under the Brooklyn Bridge, a 1971 outdoor show she organized with installations by pioneering American and European artists.

The first part of his career is characterised by his afflilation with the Mono - ha group, a Japanese movement comprising of artists who, though working in different ways, shared a predilection for natural and industrial materials, and explored the interaction between man and his surrounding space.

Concurrently with the military - industrial «space race» leading up to the moon landing, American artists began to experiment outside of traditional studio practice, intervening at a terrestrial scale to initiate the Land Art movement.

These ideas are further conveyed in his Hub works, where transitory, connecting spaces between rooms, such as vestibules and corridors, speak metaphorically about movement between cultures and the blurring of public and private, as well as reflecting on the passage of the artist's own life.

Organized by P.S. 1 Contemporary Art Center founder, Alanna Heiss, FORTY features work by over 40 artists who were key participants in the 1970s alternative art spaces movement and the early years of P.S. 1 Contemporary Art Center.

Although Corse, who is still making work today, is often lumped together with artists of the 1960s Light and Space movement — Larry Bell, Doug Wheeler, John McCracken — she didn't know those artists at the time, and wasn't even aware of their work.

This exhibition showcases both a wide selection of mediums and movements, including Finish Fetish, where artists such as Ron Davis and Craig Kauffman produced immaculately polished works; and Light and Space, which produced minimalist, experiential pieces by the likes of Larry Bell.