Sentences with phrase «body as an art object»

Not exact matches

Human bodies and gestures re-imagined as objects of art.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

2013 Art Public: Only One Like You, curated by Nicolas Baume, Art Basel Miami Beach, Miami Beach, FL Pataphysics (A Theoretical Exhibition), Sean Kelly Gallery, New York, NY Body is Present, Berrie Center for Performing and Visual Arts, Ramapo College, NJ Hold on Her, (performance), Cleveland Museum of Art, Cleveland, OH All Good Things, SOMA Arts, San Francisco, CA Remainder, curated by Lauren Ross, Philbrook Museum of Art, Tulsa, Oklahoma The Lobby Project, City Center, New York, NY Sisyphus: Heroism of the Absurd, Arte Actual, Quito, Ecuador If Color, then also Dimension; If Flatness, then Texture, etc., LMCC at Governor's Island, New York, NY Object Focus: The Bowl, Museum of Contemporary Craft, Portland, OR Paint Things: Beyond the Stretcher, Decordova Sculpture Park and Museum, Lincoln, MA In Praise of Chance and Failure, Family Business, New York, NY There Is No Place Like Home, Paul Robeson Galleries, Rutgers, Newark, NJ Only as Signal Show, Southern Exposure, San Francisco, CA No Sun Without Shadow, Lu Magnus, New York, NY Unfolding Tales: Selections from the Contemporary Collection, Brooklyn Museum, Brooklyn, NY

«This body of work explores the idea of art as a natural and evanescent object, meant to represent a memory or reflect a specific moment in time.

The equation of physical objects and the human body appears in Lygia Clark, too, and the giddiness appears elsewhere in Latin American art as well.

Each story is bound up with objects and visual forms that Fernández develops as motifs in the larger body of work which she is presenting at 18th Street Arts Center.

The series is frequently positioned as among the earliest group of works in which Rauschenberg sought to let the world into his art, and it is put forth as an example of his ongoing involvement with indexical marking, the direct transfer or tracing of an object or body (or in this case, light and shadow) onto the surface of a work.21 Yet these assessments miss much of the subtlety of Cage's thinking about receptivity.

Owing to the success of her figurative work as well as her 2012 retrospective at the Museum of Modern Art in New York, the Polish artist Alina Szapocznikow is widely recognized for her uncanny mixed - media sculptures that incorporate cast body parts with everyday objects.

He was offering his own body as a piece of art and parts of it as the very valuable objects.

Jillian Mayer: Slumpies a body of sculptures that function as utilitarian objects, presented on PAMM's outdoor terrace as well as in the Vattikuti Learning Theater on the museum's first floor Routes of Influence juxtaposes artworks in a manner that maps how aesthetic concepts move fluidly across traditional, national or cultural lines, how «influence» in art is understood today as multi-directional, rather than linear in character.

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.

His work influenced many among the protagonists of the contemporary art scene and of the street art, such as Jean - Michel Basquiat, Keith Haring and David Hockney, who were inspired by the visual universe of Dubuffet and by his colorful landscapes of faces, bodies, urban elements and objects.

Saskia, who during her ten year career has developed an impressive body of work that incorporates elements of photography and performance art as well as text and graphics, explores in «The accidental fold» the hidden beauty of found objects — things dropped or discarded, destined to decay and disappear.

Everything in this art wells out from bodies — as Kerry Downes noted in his 1980 study of Rubens, «space in his paintings exists between and because of objects and not independently of them»...»

The history of performance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Out of Actions: Between Performance and the Object 1949 - 1979 by Paul Schimmel, Greenwich Village 1963: Avant - Garde Performance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to the Preseart as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Out of Actions: Between Performance and the Object 1949 - 1979 by Paul Schimmel, Greenwich Village 1963: Avant - Garde Performance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to the PreseArt Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to the PreseArt 1909 to the Present.

In this new body of work I am continuing my exploration of the art object as a catalyst for contemplation and meditation for the viewer as well as the artist.

Though Stella's extensive and multi-faceted body of work has evolved many times, it has always reflected his core belief in art as object.

Video thus was part of a more general questioning of the traditional art object through nonmarketable art forms such as performance, conceptual art, land art and body art.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

Highlights of recent Broad MSU exhibitions include: Trevor Paglen: The Genres; the final installment of the exhibition series The Genres: Portraiture, Still, Life, Landscape, featuring works by social scientist, researcher, and writer Trevor Paglen; Moving Time: Video Art at 50, 1965 - 2015, one of the final exhibitions conceived by Founding Director Michael Rush exploring the development of video art from its earliest presentation, currently on view at the China Central Academy of Fine Arts, Beijing; Material Effects, which brought together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials; and The Artist as Activist: Tayeba Begum Lipi and Mahbubur Rahman, the first major museum exhibition to bring together a comprehensive body of work by two of Bangladeshi's foremost contemporary artisArt at 50, 1965 - 2015, one of the final exhibitions conceived by Founding Director Michael Rush exploring the development of video art from its earliest presentation, currently on view at the China Central Academy of Fine Arts, Beijing; Material Effects, which brought together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials; and The Artist as Activist: Tayeba Begum Lipi and Mahbubur Rahman, the first major museum exhibition to bring together a comprehensive body of work by two of Bangladeshi's foremost contemporary artisart from its earliest presentation, currently on view at the China Central Academy of Fine Arts, Beijing; Material Effects, which brought together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials; and The Artist as Activist: Tayeba Begum Lipi and Mahbubur Rahman, the first major museum exhibition to bring together a comprehensive body of work by two of Bangladeshi's foremost contemporary artists.

All three bodies of work demonstrate Purifoy's deep engagement with ideas about phenomenology, the human body's experience of space and time as negotiated through our interactions with objects, which has been a central concern of much 20th century art.

The ceramic objects are often echoes of utilitarian objects or replacing the action of the body with a strong connection to psychoanalytic theory as well as art history.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

A whole history of art, a circuit of bodies and objects, circled through my mind as I took in these compendia, and yet I couldn't shake the specter of Richard Hamilton's $ he, 1958 — 61, which features a woman and a refrigerator in a ghostly embrace.

Michelangelo Pistoletto at the National Gallery in Washington, DC: The artist is being interviewed today by the NGA's James Meyer who is also the author of the monograph Michelangelo Pistoletto: The Minus Objects 1965 - 1966, «which explores the origins and impact of this seminal body of work as a radical turning point in postwar sculpture and conceptual art.»

But he consciously makes a distinction between his work and that of his close circle of peers on the West Coast: «Bruce [Nauman] was very much concerned with process, and Chris [Burden] was not so interested in video as he was in the single iconic moment, but I was immediately intrigued by how the videotape itself could be an art object, a form that when watched would not be a surrogate explanation for some previous event, but a narrative body itself.»

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

In this, her art is not a female body object drawn by men as has been done for millennia; it is a woman drawing on herself.

Made at a time of public and financial success, the image connects the artist's desire for money and success and her sexual desire (her role as consumer) with her use of her body and her emotional life to produce her art (the object of consumption).

«Dating from the 1970s to the present, the works on view focus on the use of language as a material in art, the vulnerability of the human body, and the ability of artworks to shape - shift, taking on the character of architecture, décor, or found objects,» according to the press release.

But her most celebrated essay is only one of her many contributions to art history: her books include Realism (1971), Woman as Sex Object: Studies in Erotic Art, 1730 — 1970 (1972); Women, Art, and Power, and Other Essays (1988), The Politics of Vision (1989), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), and Bathers, Bodies, Beauty (2006); Misère, her book about the representation of misery in the second half of the 19th century in France and England is due out next yeart history: her books include Realism (1971), Woman as Sex Object: Studies in Erotic Art, 1730 — 1970 (1972); Women, Art, and Power, and Other Essays (1988), The Politics of Vision (1989), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), and Bathers, Bodies, Beauty (2006); Misère, her book about the representation of misery in the second half of the 19th century in France and England is due out next yeArt, 1730 — 1970 (1972); Women, Art, and Power, and Other Essays (1988), The Politics of Vision (1989), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), and Bathers, Bodies, Beauty (2006); Misère, her book about the representation of misery in the second half of the 19th century in France and England is due out next yeArt, and Power, and Other Essays (1988), The Politics of Vision (1989), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), and Bathers, Bodies, Beauty (2006); Misère, her book about the representation of misery in the second half of the 19th century in France and England is due out next year.

The immersive environment, in which Johnson has produced, integrates materials from familiar contexts, such as rugs, mirrors, wood flooring, and shelves, which have been appropriated within this body of work in order to propose questions of the limitations of the art object and the power it beholds.

The show features a group of interrelated photographs, sculptures, ceramics, and collages that address bodies and labor as they are rendered visible in or on the art object.

Gober's exploration of architecture and forms surrounding the notion of «home» occurs through the subversion of everyday scenes resulting in the disquieting, and the unnerving; the functional rendered as object, as art, in this instance as refusal of the body.

Evoking characteristics of Surrealism, Nouveau Réalisme and Pop Art, her works embraced both material rigor as well as her own deeply personal psychology, leading her to create «awkward objects» — visceral sculptures that unravel gravity and composition — to explore what she saw as the most vulnerable of all ephemeral manifestations, the human body.

While Los Angeles was summing up its own local history with «Pacific Standard Time: Art in L.A. 1945 — 1980,» this hefty tome, L.A. Object & David Hammons Body Prints, countered with an alternate view of the city's art, showing it as tough, profound, and not the least bit datArt in L.A. 1945 — 1980,» this hefty tome, L.A. Object & David Hammons Body Prints, countered with an alternate view of the city's art, showing it as tough, profound, and not the least bit datart, showing it as tough, profound, and not the least bit dated.

Serra uses material to investigate weight, balance and the relationship with space, often dividing environments as interventions with the human form, the artist's work often reflects the temporal nature of art via the patina of rust adding a fourth dimension; that of time, the temporal aspects of object and body.

Simple objects and messages, bodies and behaviours as art, its dynamism and energy, and their critique of the culture industry are further commonalities.