Sentences with phrase «conceptual end of painting»

Best known for his fastidious paintings of geometric solids composed by chance through a system involving the roll of a die, Daniel Aksten's work in Support, Edge, Variation continues to stress the conceptual end of painting, as container of visual experience, true unto itself.

Not exact matches

Exhibited across two floors of the gallery, the paintings here range in scale from the tablet - sized Boardwalk Barter a reminiscence from the artist's earlier years selling his work in Venice, California, to one of his signature, immersive flower - like explosions, which can be read as either the conceptual origin or the end point of all other work.

The most obvious comment made by Young's series is the reinvention of action painting (the title Greeting Card comes from a 1944 Jackson Pollock painting) and the continuation of abstraction through conceptual means long after the end - game conclusions of formalism.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

For Australian abstract painters to look back at this moment, and compare it to their own, could prove quite beneficial, and force a complete reversal of what we are always taught, that Blue Poles and other paintings like it signify the end of the line for painting, the last port of call before the inevitable disembodiment into performance and conceptual art.

Wallace's work occupies a unique position among the currents that have animated art and engaged artists since the 1980s: appropriation, the «end» of painting, and the reinvestigation of Pop, Minimal, and Conceptual art.

During the selection process, the artist remarked that «the paintings are now awake from having been asleep» — a metaphor for the artist's physical and conceptual process whereby paintings do not start or end, and are never «finished» due to the physical act of folding and unfolding.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Truax says the artists he has selected have «a romantic and emotional engagement with painting and its history,» At the end of his essay, he even suggests that Conceptual artists are adopting painting as a strategy, too.

Her 2010 retrospective at the Moderna Museet in Stockholm organized the works into eight categories: early works and beginnings in New York, the Airplane series, A phallic world, Tools, abstract paintings, text - based conceptual works, «the end of painting,» and the Wave series.

And, despite his criticism of intellectualism, Ho remains a conceptual artist to the end; his abstract paintings are inseparable from the complex narrative he built around them.

Jointly organized by Yuz Museum and Modern Art Museum of Fort Worth in close collaboration with the artist, KAWS: WHERE THE END STARTS will feature his key paintings, sculptures, drawings, toys, and advertisement interventions to examine KAWS's prolific career in depth, revealing critical aspects of his formal, conceptual, and collaborative developments over the last twenty years.

Aligning the engagement of his work with the critical discourses surrounding the «end of painting» and conceptual and minimalist strategies throughout the 1960s and 1970s, this book presents Hepher's oeuvre as a «British realist response to modernism» and a highly theorised engagement with painting.