Sentences with phrase «as social sculpture»

In 1972 at documenta 5, Joseph Beuys invited the public to partake in discussions on art, where he expanded his participatory notion of art as social sculpture.

With echoes of Joseph Beuys's expanded concept of art as social sculpture or, more contentiously, Christoph Büchel's recent social practice intervention, THE MOSQUE (2015), at the 56th Venice Biennale, Serra's work is now more widely loved.

At the center of his art practice where his gesamtkunstwerk or what came to be known as social sculpture — a fusing of a participatory audience and artist, resulting in society becoming one work of art.

Social practice, sometimes described as social sculpture or relational aesthetics, is much less concerned with art objects and much more with the space of human relationship, challenging conventional notions of artmaking and display.

Objects, storytelling, and sound function as a social sculpture explored in duration.

Not exact matches

He developed a radical art concept of «Social Sculpture», as he explains clearly in his selected quotes.

Were Joseph Beuys's «social sculptures» intended as pranks?

As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.&raquAs far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.&raquas painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.&raquas a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.&raquas circumstance or inclination may direct, and that without any serious loss.»

Encompassing some 100 works in painting, sculpture, video, and installation, «The Everywhere Studio» presents over 50 artists from the past five decades to reveal the artist's studio as a charged site that has both predicted and responded to broader social and economic changes of our time.

He conceives his sculptures as sites of spirited and generous social interaction.

Working with artist Jenny Moore, participants used Pascale Marthine Tayou's sculptures as the starting point for a playful investigation of the social life of objects.

Each artist's personal visual styles and narratives «tramp» comedic avenues as a means to explore their sculptures, videos, and photographs through deviations from «norms» (whether cultural, social, logical, or linguistic): A candle can not evade its own snuffing.

-- The Carbon Tax Center — The Center for Social Inclusion — Columbia University's Earth Institute — Columbia University's International Research Institute for Climate & Society — Cooper Union's Institute for Sustainable Development — Gallery Aferro — High Line Art — IMC Lab & Gallery — Joe's Pub at the Public Theater — Mary Miss / City as a Living Laboratory — Materials for the Art — New School's Center for New York City Affairs — NRDC — SculptureCenter — Socrates Sculpture Park — Storefront for Art & Architecture — Superhero Clubhouse — Triple Canopy

Exhibiting a wide variety of mediums including photography, video, painting, sculpture, drawing and site - specific installations, Party Out Of Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigma.

Artists working in all mediums (including — but not limited to — video and film, new media, installation, painting, social practice, sculpture and performance), as well as curators, are encouraged to submit exhibition proposals.

In this complex scenario, Teresa Margolles deals with material fragments of buildings, transporting them across borders and reassembling them remotely in large format sculptures, as a call to read these traces as part of larger processes, events and social relations, such as migration, international drug trade, or human trafficking.

Widespread criticism of his work Abortion in 1965 encouraged Hanson to formulate his social and political views as sculptures.

New to the fair was a sector called Survey, bringing gravitas with a deliberately digital - free zone that called on 13 galleries to present tightly curated historical projects — the standout, New York artist Alison Knowles's The Boat Book, 2014, eight 8ft - high, wood - framed movable pages covered with images described by her dealer, James Fuentes, as «seminal social sculpture» that is «read» by crawling through it.

The Carbon Tax Center; The Center for Social Inclusion; Columbia University's Earth Institute; Columbia University's International Research Institute for Climate & Society; Cooper Union's Institute for Sustainable Development; Gallery Aferro; High Line Art; IMC Lab & Gallery; Joe's Pub at Public Theater; Mary Miss / City as a Living Laboratory; Materials for the Art; New School's Center for New York City Affairs; NRDC; Sculpture Center; Socrates Sculpture Park; Storefront for Art & Architecture; Superhero Clubhouse and Triple Canopy.

We wondered about Marcel Broodthaers» Eagle Museum as well as about Joseph Beuys» Social Sculpture.

While he is well - known for works featuring his own social milieu — often depicting parties, portraits of friends and fellow artists, and, perhaps most notably, his wife Ada, who has been his model and muse for decades — the landscape of Maine, which he first encountered as a resident at the prestigious Skowhegan School of Painting and Sculpture in 1949 - 50, has been a central point of reference throughout his career.

Throughout a distinguished forty - year career as both sculptor and teacher — he was Professor of Sculpture and Departmental Head at the University of Nigeria, Nsukka — El Anatsui has addressed a vast range of social, political and historical concerns, and embraced an equally diverse range of media and processes.

As an undercurrent, the idea of «a great debate» as an exhibition seems to aim at something closer to Beuysian social sculpturAs an undercurrent, the idea of «a great debate» as an exhibition seems to aim at something closer to Beuysian social sculpturas an exhibition seems to aim at something closer to Beuysian social sculpture.

Simone Leigh's sculpture, as well as her recent social practice — related work, such as The Free People's Medical Clinic (2014) and The Waiting Room (2016), locates experiential activities geared toward communities of color within museums and art galleries, which are sometimes viewed as elitist by the general public.

Yet while the official art - historical narrative of that generation — Basbaum's peers include Beatriz Milhazes, Leonilson and Barrão, who came of age during the emergence of Brazilian democracy — highlights an almost postpolitical identity in which art is primarily a mode of self - expression as opposed to a form of social consciousness, Basbaum's sculptures, drawings, photographs and actions see the artist tie self - affirmation to the notion of the (still) political subject.

Featured image: Joseph Beuys planting 7000 oaks, exemplifying the concept of social sculpture as an interdisciplinary art form.

Of course, the rise of black - owned spaces has impact far beyond the market, and many prominent non-profit spaces, such as Rick Lowe's Houston - based Project Row Houses and artist Mark Bradford's Los Angeles - based Art + Practice, are positioned as «social sculpture,» an expanded concept of art coined by the German Fluxus artist Joseph Beuys, who sought to use art to address societal issues.

Their relationships to social, political and philosophical expressions of feminism are as diverse as their work in sculpture, painting, drawing, video, installation, collage, assemblage and the wearable — yet all six directly consider the literal and allegorical ways in which the female body occupies both physical and semantic space in the modern world.

When Gilmore leans three sleek, heart shaped sculptures against a wall — a Black Heart, Red Heart, and Sweetheart as angled, elongated, and monochromatic as John McCracken's minimalist plank sculptures — social shift seems imminent.

Since the early 2000s the artist has explored the social and cultural implications of political acts through painting, sculpture, installation, and performance — both live and filmed — using himself as protagonist, proxy, and test subject.

As well as sculpture and performance, his work as an artist came to encompass social theory and political actioAs well as sculpture and performance, his work as an artist came to encompass social theory and political actioas sculpture and performance, his work as an artist came to encompass social theory and political actioas an artist came to encompass social theory and political action.

Iván Argote's practice deals with social, political and art historical fields through mediums as varied as video, photography, sculpture and painting.

The bringing to light of a processual artistic activity, such as Morris called for in his theoretical texts Notes on Sculpture, Part 1 - 4 (1966 - 69) and Anti-Form (1968), likewise addresses the social context of production and labor, a perspective which is also to be seen against the background of the institutional criticism of Concept Art as well as the social expectations during the 1970s with regard to art production.

Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter «Dave Drake»; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation.

Heidrun Holzfeind uses photography, documentary video and sculpture to explore individual and collective narratives that reveal the concept of identity as a social construct dependent on cultural and socio - economical circumstances.

Gates's practice embraces a wide range of disciplines and a variety of artistic vocabularies — sculpture, painting, installation art, music and performance — as well as urban development and social practice.

Composed of digital paintings, collages and sculptures, the four artists utilize varying kinds of mutable imagery — drawn from stock photography websites, social media and landscapes — as a representational vocabulary that intersects with physical presence.

Establishing a virtuous circle between fine art and social progress, Gates strips dilapidated buildings of their components, transforming those elements into sculptures that act as bonds or investments, the proceeds of which are used to finance the rehabilitation of entire city blocks.

Also interested in exhaustion as a mechanism, Raul De Lara makes sculptures out of wood and, through hard - carving, transforms the material to make ironic, eerie, or funny social - political commentaries.

As Abraham constructs his latest exhibition, Autorreconstruccion: Social Tissue at the Kunsthaus in Zurich, Switzerland, he talks to Jo Fahy about his work, his ideas about inclusivity, the importance of beer to his creative process and the challenges when a sculpture collapses.

Sharing an affinity with other conceptual minimalist installations of the 1960s, Edwards» choice of barbed wire as material imbues this sculpture with social and political meaning.

The liberal beliefs, social tolerance, and general promiscuity that characterize popular images of the city likewise distinguish the Los Angeles — based artist's own permissive practice, which swings from abstract paintings to collages and from haunted - house sculptures to a series of narrative paintings depicting sexually ambiguous men whom Hawkins refers to as «hallucinations from a Viagra overdose.»

From the perspective of the so - called post-internet generation, his sculptures, films and online projects — often arranged as installations — are concerned with the relationship between real and virtual everyday worlds, that is, with life and experience in the internet age and the effects this has on social reality.

Designed by the artists to include a site - specific sculpture on FLAG Art Foundation's outdoor terrace, overlooking the Hudson River, the show addresses existential issues linked to identity, sexuality, and mortality, as well as an examination of social value systems and the expectations that surround them.

As the survey «John Chamberlain: Choices,» curated by Susan Davidson and recently opened at the Solomon R. Guggenheim Museum in New York, demonstrates, Chamberlain deployed all of these materials with an exuberance, acuity, and openness to sculpture's social valences that was to influence generations of artists.

Exploring themes of agency, politics and perspective, and responding to content within the fair itself, this year's Talks program features Claudia Rankine, 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen, as well as a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective and featuring artists Tania Bruguera, Anri Sala and Jeanne van Heeswijk; and a conversation on «complicating the Modern» from Ann Temkin, Marie - Josée and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

The included works range from painting and sculpture to VR technology and 3D animation, shedding light on the idea of «the virtual» not solely as a computer - generated technology, but as a concept linked to the potential to remap social and political landscapes through a reorientation of the physical and sensorial.

Encompassing some 100 works in painting, sculpture, video, and installation, The Everywhere Studio brings together over 50 artists from the past five decades to reveal the artist's studio as a charged site that has both predicted and responded to broader social and economic changes of our time.

Rashaad's videos, performances, sculptures, and photographs interrogate notions of cultural / social signifiers as well as how they are formed.

She conceived of Pocket Utopia not as a commercial gallery, but rather as an extension of her own social sculpture.