Sentences with phrase «conceptual art belonged»

Besides, surely conceptual art belonged to a generation that one had almost, finally, brought oneself to forget.

Not exact matches

Marinus Boezem belongs, together with Jan Dibbets and Ger van Elk, among the most important representatives of the Conceptual Art and Arte Povera movement in the Netherlands and was among the first artists that worked with video and television aArt and Arte Povera movement in the Netherlands and was among the first artists that worked with video and television artart.

Coming of age during the 1968 student protests, which swept across Yugoslav cities, Iveković belongs to the New Art Practice (NAP), a generation of artists whose conceptual practices gravitated toward the use of public space, breaking away from institutional infrastructures.

Along with Lawrence Weiner, Joseph Kosuth and Douglas Huebler, he belongs to the first generation of artists to work with conceptual art.

Indeed, while we tend to think of conceptual art as belonging very much to now, this challenging exhibition views it as a tightly defined historical phenomenon, whose heyday was 40 years and more ago, a period during which, the show claims, British artists changed the very nature of art.

A leading figure of conceptual art, Lawrence Weiner is making temporary tattoos and stencils for the exhibition with the phrase «Nau Em I Art Bilong Yumi,» which translates from pidgin as, «The Art of Today Belongs to Us.&raqart, Lawrence Weiner is making temporary tattoos and stencils for the exhibition with the phrase «Nau Em I Art Bilong Yumi,» which translates from pidgin as, «The Art of Today Belongs to Us.&raqArt Bilong Yumi,» which translates from pidgin as, «The Art of Today Belongs to Us.&raqArt of Today Belongs to Us.»

Charles Gaines, one of the most important figures of conceptual art in the United States, certainly belongs to the above mentioned movement within contemporary art.

Hesse belonged to a generation of artists, including Bruce Nauman and Andy Warhol, who expanded the conceptual and technical possibilities for art.

If the painterly side of this work looks back to de Kooning's practice of hanging abstract compositions on letter shapes, and the linguistic aspect engages conceptual art, it's the apparent nonchalance of the paintings, their complete lack of pretense or fussiness, that marks them as belonging to NOW.