Sentences with phrase «conceptual critical practices»

Not exact matches

Fulton brings valuable insight into organizational / operational management and best business practices, architectural selection, design, conceptual planning, and facility programming, master planning, environmental planning, and agency review processing and project assurance through the critical evaluation of the construction process.

Exemplary of the critical practices in postwar, avant - garde Conceptual, Fluxus, Mail Art and Performance Art, the works in this collection include those by Lawrence Wiener, Seth Siegelaub, Chris Burden, Sol Lewitt, Robert Barry, Douglas Huebler, Ulises Carrion, Michael Snow, Laurie Anderson, Yoko Ono, Iain Baxter and Ken Lum.

Lisa Cooley is a contemporary art gallery with an emphasis on conceptual and critical practices in all media.

They represented several generations of Chicago - based artists who apply activist intentions, conceptual strategies, and experimental artistic approaches to complex social issues; they epitomize a larger «critical mass» of peers who have sustained and invigorated this kind of critical art practice in Chicago.

He studied with artists John Baldessari and David Antin, filmmaker Manny Farber, and philosopher Herbert Marcuse at the University of California San Diego in the early 1970s, where he and fellow classmates Fred Lonidier and Martha Rosler synthesized Conceptual art, film, and Marxist philosophy into a critical documentary practice.

While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practice.

The Or Gallery is an artist - run centre committed to exhibiting work by local, national, and international artists whose art practice is of a critical, conceptual and / or interdisciplinary nature.

Her artistic practice is based on conceptual ideas and relates in its critical analyses of media and society to her distinctly European perspective.

Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.

Among the first critical art historical examinations of Haendel's conceptual drawing practice, «Karl Haendel: Knight's Heritage» narrates four illuminating moments in the artist's career that show how the operations, effects, and reception of appropriation art have changed in recent decades.

She is currently working on the final manuscript for her book The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic PractiConceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic Practiconceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic PractiConceptual Art as Comedic Practice.»

At his job at CalArts he taught alongside Michael Asher — his studio classes focused on critical theory and conceptual practices.

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.

This aspect of the presentation will provide a view into Camnitzer's diverse practice as a conceptual artist, and will illustrate his critical role as a global link between developments of new visual languages in Latin America and New York.

Syms own practice is also formed of conceptual and critical inheritances.

Sarah Charlesworth was a conceptual artist and photographer whose work sought to bridge the gap between fine art and a critical practice of photography.

Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present - day practices, Radical Presence: Black Performance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.

The essays documented a range of Vancouver cultural practices, including the emergence of artist - run centres, experimental performance and video, feminist activity, collaboration, sculpture, painting, art criticism, conceptual art and landscape, as well as critical reflections on perceptions of aboriginal cultures.