Sentences with phrase «conceptual art practice»

Materials are exciting and the meaning of materials is hugely important in conceptual art practice.

In contrast to leading conceptual art practices of the 1970s, Clemente refocused attention on representation, narrative, and the figure, and explored traditional, artisanal materials and modes of working.

Resonating with early conceptual art practices and John Cage's aleatoric music, Keith Tyson's Fractal Dice sculptures begin as cubes but transform as the artist rolls a die, altering the sculpture's appearance based on prescribed parameters corresponding to each number on the die.

Associated with conceptual art practices from the 1970s and known as a feminist filmmaker and performance artist, Antin playfully deals with questions of identity, gender, and class.

Organized thematically, I Am The Single Work Artist traces the development of Sharif's conceptual art practice from 1973 to 2016, highlighting his unprecedented influence through key series that he revisited throughout his life, and which illustrate his enduring social and philosophical reflections on mathematical systems, time, and the banality of the everyday.

With dual headquarters in Ho Chi Minh City, Vietnam and Los Angeles, California, The Propeller Group artist collective is a cross-disciplinary collaboration whose work merges conceptual art practices — partially steeped in the politically inflected artwork of the 1990s — with the forms and methods of popular media today.

Since the rise of conceptual art practices within the ever - changing terrain of contemporary art, one often encounters the silly assertion that art making has become a market of ideas as opposed to objects.

Dutch artist Anouk Kruithof considers photography a starting point for her interdisciplinary and often conceptual art practice.

From 1973 feeling that his work, while well informed by conceptual art practice, lacked a realistic visceral dimension, he immersed himself in a study of the techniques of 17th century Dutch masters, the Abstract Expressionists and significantly the Ch «an (Zen) painters and calligraphers of China.

The legacy of conceptual art practices permeates the exhibition, revealing layers of narrative in both the finished work and through the process of making, in some works abject materials such as car parts, wax, expanding foam and plywood, as well as methods of production such as crochet and embroidery are used to question the value of labour and social hierarchies.

``... Beginning in 2009 [Christopher Ho] abandoned his New York - based conceptual art practice for one year to become an abstract painter in Telluride, Colorado, a rustic mountain town with a population just over 2,000.

Like many of his radical 1960's contemporaries, Douglas Huebler's conceptual art practice celebrated the dematerialization of form in favor of ideas and concepts.

An analytical thinker, Holt began her early work in concrete poetry in 1966 and engaged in Conceptual art practices during the mid-seventies.

Montgomery distills a unique mysticism in his works that communicates wider social messaging - bridging a gap between a search for genuine spiritual feeling and an updated «Beuysian» conceptual art practice of social sculpture.

Julian Schnabel (b. 1951) emerged as a painter around 1980 and ushered in, almost single handedly, a return from the minimal and conceptual art practices of the 1970s to image - based art that defined the 1980s art world and continues to this day.

Though this is Manchester born Hannah Black's first institutional UK solo show, she is already well known for her incisive social awareness, with a conceptual art practice that interrogates issues surrounding race, gender, the body, social codes and capitalism.

In the process, she transformed the conceptual art practices common in the period, infusing them with strong personal and political content.

The conceptual - systems artist Gerald Ferguson began to incorporate folk - art stencil motifs in his paintings starting in the 1990s, while remaining true to the tenets of his conceptual art practice.

The works included demonstrate a conceptual art practice that is mapped out and then (re) framed within the context of an installation.

Double Consciousness explores the conceptual art practices of African - American artists over the past 35 years, using as its underpinning, the «reflexive» nature of art - making which emerged with the avant - garde of the late 1960s.

The collages can simultaneously be perceived as pure abstraction without reference to the real world while it touches upon political aspects of minimal and conceptual art practices.

In this way, Wang's method evokes a strong metaphor, relating to Chinese cultural identity as much as it relates to conceptual art practices.

In the second part of the interview G.H. Hovagimyan talks about the early days of digital and internet art and his early works in the internet: Barbie & Ken Politically Correct, and other pieces which extended his conceptual art practice and his performance work in the 70s.

Published in 1973, Six Years simultaneously catalogued and described the development of conceptual art practices in the late sixties and early seventies, and is now widely considered an essential reference work for the period.

Conceptual art practices, performance, identity politics in contemporary art, and the work of artists of African descent are central to her curatorial inquiry and book projects.

Moving to New York in 1961, he experimented with Minimal and Conceptual art practices, working alongside other key artists such as Mel Bochner, Dan Graham, Eva Hesse, Sol LeWitt, and Robert Smithson.

Jessica Wyman is an art historian with particular interest in contemporary performance theory and historiography, adaptation studies, and conceptual art practices.

Using the language and history of sculpture, installation, and conceptual art practices, Tannaz Farsi's work highlights and re-presents objects and images that contextually start from a collective experience found in the current news or within the milieu of our cultural archive.

A pioneer of conceptual art practice, the artist's career spans five decades and embraces painting, photography, film, video, books, prints, objects and installation.

Over a career spanning more than four decades, Matt Magee has experimented widely with abstract and conceptual art practices.

They were part of what eventually became understood as a conceptual art practice.

Now at the forefront of the renewed interest in the evolution of Land Art, feminist and conceptual art practices, Stuart's intimate and monumentally scaled works synthesize drawings with the post-minimalist sculpture and the discourse surrounding site - specific Land Art.

In an unusual occurrence, a Long Island university gallery and a North Fork commercial one are offering a simultaneous look at the conceptual art practice of a Brooklyn artist through two distinct exhibitions and a slate of talks to enhance the experience of viewing both.

In a discussion that looks at critical art practices from the late sixties and early seventies, Dyment situates the work of Woodeson, Haegele and Ashmore as a contemporary re-examination of issues and the aesthetic of early minimal and conceptual art practices, but one that is, instead, less confrontational and is imbued with a welcoming invitation and sense of play.

Since the late 1970s, his audio work has explored digital and analog recording devices, and his conceptual art practice has combined performance art, light - and sound installations, and photography.

A catalyst in the incorporation of sculptural approaches to conceptual art practice, Flanagan worked most often in an ephemeral mode.

Allen Ruppersberg's conceptual art practice has for five decades focused on the American vernacular — its books, music, popular images, and everyday ephemera.

Nonetheless, Art - Language did not purport to definitively represent or determine the terms of conceptual art practice; its original subtitle, «The Journal of Conceptual Art,» was removed after the first issue.

In a sketch outlining her conception of this body of work, Walker sets up the Idioms in contradiction to Four Desires: Conceptual Art Practice, Fine Art, Technical Mastery and Mind Boggling Scale, and suggests a parodic dichotomy between the form and intention of art based on gender, class, education and skill.