Not exact matches
Expressing a desire to «
conceive of the short story
as a studio space in which she crafts work,» Williams radically reinvents the criteria for what can be considered an
object of contemporary
art.
But in the hands of curator Boris Groys the proposition turns ambiguous... «Specters,»
as conceived by Groys, explores Russian «post-conceptual realism,» an artistic practice in which artists shift attention from isolated
art objects and performances to their social and political context.
Following Baldessari's seminal statement «I will not make any more boring
Art», he
conceived the work The Artist Hitting Various
Objects with a Golf Club (1972 — 73), composed of 30 photographs of the artist swinging and hitting with a golf club objects excavated from a dump, as a parody of cataloging rather than a thorough straight classifi
Objects with a Golf Club (1972 — 73), composed of 30 photographs of the artist swinging and hitting with a golf club
objects excavated from a dump, as a parody of cataloging rather than a thorough straight classifi
objects excavated from a dump,
as a parody of cataloging rather than a thorough straight classification.
Conceived as both a platform for experimental commissioning and an expansive artwork, Foam explores the condition of the contemporary
art object and a problematized relationship to spectatorship, dissemination, presence and display.
He discusses Pop
Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his wo
Art's place in
art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his wo
art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words
as images; a discussion of the Standard Station
as an American icon; a discussion of the notion of freedom
as it is perceived
as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine
Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward
conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «
Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his wo
Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop
as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble
objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.
A practice that was once
conceived as a critique of the static, commodified
art object created by a sole author is now embraced by major museums and becomes a focus of their programs.
His later works, from approximately 1957 until his death in 1963, questioned and satirized the status of the
art object as it had been
conceived throughout modernism.
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 artis
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 artis
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 artists.
Conceived like a temporary museum where
art and visual culture mix together, the exhibition is a manifold depiction of the history of the 20th century,
as well
as a reflection on the passage of the female figure from
object to subject of artistic representation.