The tensions within Gillick's art require that gallery - goers engage deeply with the work, and critics have underlined that by retrospectively placing
the artist under the rubric of relational aesthetics, the loosely defined movement that foregrounds the participatory viewing experience.
Not exact matches
In all these senses he is provisional, almost with a capital P. Where Wragg differs — or at least the most crucial of the many ways in which he differs — from those
artists gathered
under Rubinstein's
rubric is in his evident and overriding belief in art, and in abstract art, as a place of meaningful and compelling visual experience.»
Yet one of these allegorical, socially progressive
artists working prior to 1848 is worth examining more closely, if only to lend higher relief to the truly advanced qualities of Courbet's postrevolutionary Studio: this is the little - known Dominique Papety (1815 — 1849), for a time one of Chenavard's assistants, dismissed by Baudelaire in his 1846 Salon
under the
rubric «On Some Doubters,» as «serious - minded and full of great goodwill,» hence, «deserving of pity.»
The organizers of «Jew York,» a show at Zach Feuer and Untitled galleries in New York last summer, were turned down by several
artists who didn't want to appear
under such a
rubric.
Muddying the waters even more is the fact that many Light and Space
artists were also included
under the greater
rubric of Minimalism and showed in exhibitions like «Primary Structures» in New York.
Curated by LA - based
artist Katrina Umber, Reds brings together a small collection of objects
under the most superficial of
rubrics; color.
The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the
Artist» brings together self - portraits with portraits of
artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle;
under the
rubric of «Street Life» the exhibition presents
artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrity.
«Through combining production modes of making and presenting (at once creative, analytic, interpretive), and by inhabiting the roles of photographer, curator, designer, critic, and historian all
under the
rubric of
artist, Tillmans occupies a rare if not singular position in the field of contemporary art.»
By emphasizing folding as a gesture, this catalogue — the first on the
artist to appear in many years — unites Wilke's sculpture and photography
under the
rubric of performance, and the performing of material.
As
artists and audiences grew more conversant in the diverse ways that one could express black culture, the 1970s and 1980s ushered in a variety of
artists and artworks all comfortably operating
under the
rubric of Afro - American art.
This is manifested through my decades of photographic practice, and through my ongoing work with fellow
artists, filmmakers, writers and curators
under the
rubric of
Artist Curated Projects.
Those that spring out of a particular culture — Amish or Gee's Bend, or Navajo weaving for that matter, may be included in museum and gallery shows, but typically
under the cultural
rubric; individual
artists often remain anonymous.)
She had built a base for this by establishing a series of shows
under the
rubric, «Solid Concept,» bringing Bay Area Conceptualist
artists David Ireland, Terry Fox, Tom Marioni, Howard Fried, Tony Labat, and others to local, national, and international attention.
This staggering show foregrounded the
artist's most densely readjusted paintings, and was organized
under the
rubric of a search — with «true painting» as the moralizing payoff.
In light of this disheartening event, especially for an
artist whose practice can admittedly be subsumed
under the
rubric of institutional critique, one may read He Yida's new solo exhibition as her affidavit of defense.
Writing for The Brooklyn Rail in July 2015 on the fraught dynamic between experimental film and
artists» moving image for the gallery, filmmaker Roger Beebe expressed an «objection to this relabeling of his practice
under an art world
rubric.»
With EARTHTWERKS & Other Celestial Familiars, the collective of visual
artists acts as curators, representing visual art trends across the United States and coming together
under the conceptual
rubric of the notion of heliograph.
The New York School was the locus of this phenomenon, but it had related currents the world over, including European tangents like CoBrA (an amalgam of painters from Copenhagen, Brussels, and Amsterdam), a loose federation of
artists lumped
under the
rubric Art Informel and the Art Brut of Jean Dubuffet.