In the 1960s
conceptual art moved onto the international art stage like a bright beacon of joyous intellectual discovery.
Not exact matches
After a brief phase as a
Conceptual artist, the British - born artist (he
moved to New York in 1970) ran afoul of
Art & Language who accused him of betraying Conceptual art through the «sycophancy» and «opportunism» of his early «70s writings for Artfor
Art & Language who accused him of betraying
Conceptual art through the «sycophancy» and «opportunism» of his early «70s writings for Artfor
art through the «sycophancy» and «opportunism» of his early «70s writings for Artforum.
Often zigging when the established
art world zagged, Wiley began creating large, unctuous paintings inspired by the Abstract Expressionist and Bay Area Figuration movements of the time, only to swiftly
move away from them in the late»60s to develop his cartoonish figurative style, which waned in popularity as Minimalist and
Conceptual art became fashionable.
art fair,
conceptual, Curator's Office, film, installation,
Moving Image, narrative, New York, Nicholas & Sheila Pye, performance, premiere, video
art
The exhibition focuses upon the extensive use of reproducible media which has been observed over the last ten years and proposes that the precursor of this phenomenon was the
art of the late sixties and seventies, a period in which
moving pictures formed the
conceptual basis for the work of a number of artists.
Interest has steadily grown in the career of the American painter Lee Lozano (1930 — 99) over the last decade, specifically in her
move toward
conceptual art that culminated in her boycott of women for nearly the last 30 years of her life.
It presents a way to create constellations of works «on the
move», and facilitates surprising and unique assemblages of
art across a large, diverse
conceptual and thematic spectrum.
2016Biennale of
Moving Image 2016, Centre d'
Art Contemporain Genève, Genève, Switzerland (upcoming) Dreamlands: Immersive Cinema and
Art, 1905 - 2016, Whitney Museum of American
Art, New York (upcoming) Development, curated by Liam Gillick, Okayama
Art Summit, Japan Nam June Paik Award, Folkwang Museum, Essen, Germany
Art Basel Parcours, Naturhistorisches Museum, Basel, Switzerland Perfect Lives, Kunstverein Göttingen, Göttingen, Germany Nothing
Conceptual: la Meme Era, La Barra de Paquito, San Juan, Puerto Rico What People Do For Money: Some Joint Ventures, Manifesta 11, Zurich, Switzerland Seven on Seven, New Museum, New York Overseas BF, curated by Signe Rose, Glovebox, Auckland Onion By The Ocean, organized by Essye Klempner and Elisa Soliven Underdonk, Brooklyn, New York default, Honor Fraser Gallery, Los Angeles, California
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the
move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of
art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and
Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high
art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop
art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
l Los Diez
moved abstraction from purely visual, formal concerns toward
conceptual and phenomenological ends, in line with other contemporaneous international
art movements, to engage both the viewer and the broader collective conscience of Cuba.
Ubu, long a home to Surrealist traditions from Kurt Schwitters and Pierre Molinier to Yoko Ono and her uniquely sensual and
conceptual art, has
moved from the Upper East Side to under the 59th Street Bridge, near a Bed, Bath & (yes) Beyond.
In the early 1980s, Weiwei
moved to New York where he got influenced by pop
art and started creating
conceptual artworks made of altered readymade objects that brought him worldwide exposure.
Born in Pittsburgh in 1940, Bochner received a BFA from the Carnegie Institute of Technology in 1962 and
moved to New York City in 1964, where he became involved in two of the major movements of the period — minimal and
conceptual art.
The quiet eruption of photography into the best painting of the 20th century's final decades created an opening for painting to adapt other mediums into itself, a vice versa of the
moves made by
Conceptual art.
So is
conceptual art, although Chemi Rosado - Seijo
moves a classroom from the Lower East Side into the Whitney.
Artists from the 50s and 60s who
moved to the UK from the commonwealth,
conceptual artists who considered themselves «stateless» global citizens rather than tied any one place, and groups such as the Black Audio Film Collective, whose work sought to unearth the possibilities of being both «Black» and «British» in the 1980s, will show how British
art has, directly or indirectly, come to reflect a much wider international stage over time.
A K Dolven, Anders Weberg, animation, Ann Lislegaard, architecture, artificial, computer generated,
conceptual, digital, Digital
Art, Elina Brotherus, environment, exhibition, exploration, hyperspace, imaginary, imagination, installation, interactive, interactive media, Jacob Tækker, Jette Gejl Kristensen, Katja Aglert, knowledge, light, light sculpture, material, media, mediation, memory, Moving Image, natural, Olafur Eliasson, ordinary, Per Platou, perception, Peter Møller - Nielsen, Petra Lindholm, real, representation, rural, Scandinavia House, simulation, space, surrounding, Tanya Toft, uncanny, unknown, urban, video, video art, virtual, voy
Art, Elina Brotherus, environment, exhibition, exploration, hyperspace, imaginary, imagination, installation, interactive, interactive media, Jacob Tækker, Jette Gejl Kristensen, Katja Aglert, knowledge, light, light sculpture, material, media, mediation, memory,
Moving Image, natural, Olafur Eliasson, ordinary, Per Platou, perception, Peter Møller - Nielsen, Petra Lindholm, real, representation, rural, Scandinavia House, simulation, space, surrounding, Tanya Toft, uncanny, unknown, urban, video, video
art, virtual, voy
art, virtual, voyage
Indeed, the collection can be viewed as a lived archive of the world in which LeWitt
moved and worked, even as it examines the possibilities for
conceptual art across media, disciplines, and time periods.
Juxtaposing truisms against stable, but living or lively, backdrops would invite comparisons to seasoned
conceptual artists such as Jenny Holzer, Alfredo Jaar, Christopher Wool, or Gillian Wearing; Benjamin and Brunkalla's inception, however, accelerates textual
art into the
moving image.
The world, however,
moved on, and although Denny became a much respected elder statesman for abstraction, and his cool geometric lithographs of the 1970s became popular in corporate offices, the thoughtful abstractionism he represented was swamped by the advent of Pop and
conceptual art.
During the first 11 years of her extensive career, Ono
moved among New York, Tokyo, and London, serving a pioneering role in the international development of
Conceptual art, experimental film, and performance
art.
MS. CORDOVA: Well, let me ask you, because you're bringing up some really interesting issues about the idea of success for an artist and especially during the late «60s and 1970s, you seem to be
moving away from painting and towards — well, obviously installations, also towards maybe even
conceptual art.
Along with the more traditional mediums of painting, photography, drawing, sculpture,
conceptual, video and performance
art we also encourage the submission of sound, text, spoken word, dance, comedy, cooking, large scale painting... As a new century begins and the last still informs every
move we make an anxiety of where we are takes many forms from the personal to the political.
Then, in later years, the artist
moved back to
conceptual art and created the lyrical planes of color in what now is his most celebrated work, his Ocean Park series.
«A multi-media innovator - a pioneer who anticipated all kinds of performance and
conceptual art pieces which, every so often, achieve a kind of poetic essentialism that is genuinely eyepopping and often
moving» - Simon Schama
Some areas of Chaffee's scholarship interests include abstract painting and
conceptual art, and engaging directly with emerging to mid-career contemporary artists to realize exhibitions with the intention of
moving their artistic practices forward.
Jsun was a pillar of creativity, selflessness, joy and uniqueness in the Bay Area
arts community for more than a decade after
moving out to San Francisco from the Midwest to pursue his MFA from the San Francisco
Art Institute, not to mention a world class painter, illustrator, and
conceptual artist.
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 developm
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 developm
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 development.
In 1996 he
moved on to Californian Institute for the
Arts, strongly influenced by supervisor and
conceptual artist Michael Asher — where he developed an interest in how time has affected modernist design.
2006 The Downtown Show, The New York
Art Scene 1974 - 1984, New York University Grey
Art Gallery, New York, US Onestar Shop by Hans Schabus,
Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'
Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'
Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf
Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH
Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the
Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound
Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner,
Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring
Art, Lithographs, Publications and Ephemera from The Nova Scotia College of
Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's
Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary
Art Center, Long Island City, New York, US; KW Institute for Contemporary
Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK
Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank &
Art School Palestine, Palestine, IL The Materialization of Sensibility:
Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's
Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary
Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary
Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US
Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK
Art in America: 300 Years of Innovation, curated by Susan Davidson, National
Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary
Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR
Artist abandoned the conventions of brush and easel and played with new materials and methods of artistic gesture: commercial paints and housepainter's brushes, working on unstretched and unprimed canvases,
moving the canvas to the floor, and applying paint with hands.This essential introduction spans the international breadth,
conceptual depth, and seismic impact of Abstract
art with a thorough survey not only of the big names such as Picasso, Klee, Kline, Rothko, and Pollock, but also lesser - known figures who made equally significant abstract contributions, including Antoni Tàs; pies, K.O. Götz, Ad Reinhardt, and Sophie Taeuber - Arp.
The wary
art maven will recognize them as
moves in an endless game of cultural references and
conceptual strategy.
Before
moving to the UK in 1977, she played an active role in the development of
conceptual art in New York from 1965.
2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'
Art», Institut d'
Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «
Art Pool», Vienna, AT Shoot:
Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living
Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux -
Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and
Art, Dallas Museum of
Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International
Art from the Collection of Fonds Régional d'
Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'
Art Contemporain et l'Enfance, Musée d'
Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The
Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers,
Art Gallery of Nova Scotia & Nova Scotia College of
Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a
Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of
Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of
Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'
Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les
Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES
Co-directors of DAAR, an architectural office and artistic residency programme that combines
conceptual speculations and architectural interventions, their theory and practice
moves between
art, architecture and education.
He
moved to the United States in 1957, where he became a pioneer in the development of
Conceptual Art and also a renowned writer and critic.
The Influence of Cartoons in Contemporary
Art (2003); the acclaimed Double Consciousness: Black
Conceptual Art Since 1970 (2005); Black Light / White Noise: Sound and Light in Contemporary
Art (2007); Cinema Remixed and Reloaded: Black Women Artists and the
Moving Image with Dr. Andrea Barnwell Brownlee (2009); Hand + Made: The Performative Impulse in
Art and Craft (2010); a major retrospective on Benjamin Patterson, Born in the State of Flux / us, as well as the survey Donald Moffett: The Extravagant Vein (2011).
Over the last fifty years, many Latin American artists began to
move away from traditional modes of
art production, exploring forms such as kinetic, optical, and
conceptual art.
The exhibition associates this idea of «offshore
art» with past developments in Land Performance and Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smiths
art» with past developments in Land Performance and
Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smiths
Art of the 1960s and 70s — a time when artists
moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smithson.
Kelcey
moved freely between media and materials, covering collage, photography and
conceptual art.
In the latter half of the twentieth century, painting had acquired a beleaguered status with accusations of its irrelevance in the face of
conceptual art, photography and the
moving image.
Beginning with monochrome painting and rectangular shapes
moving on to almost completely black paintings, only suggesting the modest gradation in color tone, Reinhardt would become a great influence to minimalism and
conceptual art.
During this time, Boyd's compatriots were starting to
move into
conceptual art as abstraction became further deconstructed.
It's a big
move for an institution whose reputation rests largely on the very 1960s - era Minimalist and
Conceptual art with which it's parting ways.
Sarmento's
moving image and performance works are rooted in a history of performance and
conceptual art from the mid to late twentieth century, that uses the body as both a site of action and a tool — by the likes of Marina Abramović, Bruce Nauman, and Carolee Schneemann.
The arc of her work mimics the
move from bold gestural brush strokes of Abstract Expressionism morphing into found object canvases of the pre-Pop era to emergence of
conceptual art.
After learning her craft among local artists and being lucky enough to find both Diebenkorn and Thiebaud among them, Brown
moved unexpectedly and unpredictably toward minimal and
conceptual art.
The show also features a wide range of original documents including photographs, films, and audio recordings that illustrate the role of chess in the
move from the avant - garde to
conceptual art.
Born in New York in 1942, Lawrence Weiner played a pivotal role in the development of
Conceptual art in the United States in the 1960s, questioning traditional notions of
art and
moving away from the
art object in favor of a practice based in ideas and actions.
He
moved to the city in 1966 and was instrumental in developing the new radical propositions of
conceptual art, alongside artists such as On Kawara, Lawrence Weiner, Joseph Kosuth, Art & Language and Robert Bar
art, alongside artists such as On Kawara, Lawrence Weiner, Joseph Kosuth,
Art & Language and Robert Bar
Art & Language and Robert Barry.