Sentences with phrase «conceptual nature of art»

However, there were significant artists in other parts of the world who, years before this, were exploring the conceptual nature of art (and I don't mean Duchamp).

His diverse oeuvre represents a pivotal transition from modern art's concern with the material object to contemporary notions of the conceptual nature of art.

Calling himself «the painter of space», Klein «sought to achieve immaterial spirituality through pure color» and concerned himself with the «contemporary notions of the conceptual nature of art «1.

Not exact matches

Factual statements about nature reduce art to mere illustration and assimilate it to conceptual habits of thinking — precisely what Dillenberger rightly criticizes in American Protestantism.

Conceptual collaboration happens when an art teacher works closely with the science teacher and they both help students understand the effect of pigments and light by teaching together the science of wavelengths, the electromagnetic spectrum, and the dual nature of light.

Formative assessment in science and mathematics differs from other subject areas such as English language arts due to the conceptual nature of the disciplines and the impact preconceptions have on student learning.

Interest in contemporary art was similarly small, due in part to the hermetic nature of minimal and conceptual art that dealt mostly with concerns specific to art and artists.

Inspired by the High Line as an ambulatory space experienced most naturally in motion, Wanderlust extends the tradition of Conceptual art wherein the act of walking served as an inspiration for many artists who explored life both in the urban context and in an ambivalent confrontation with nature.

Her work has also been featured in such international surveys as the Biennale of Sydney (1976); Documenta 6, Kassel, Germany (1977); the Venice Biennale (1978, 1980, 2001), and more recently The Last Freedom: From the Pioneers of Land Art of the 1960s to Nature in Cyberspace, Ludwig Museum, Koblenz, Germany (October 16, 2011); Systems, Actions & Processes: 1965 - 1975, PROA Foundation, Buenos Aires (through September, 2011); Erre: Variations Labyrinthiques, Centre Pompidou, Metz (September 12, 2011 - March 5, 2012); and Light Years: Conceptual Art and the Photograph: 1964 - 1977, Art Institute of Chicago (December 11, 2011 — March 11, 2012).

Known for her large - scale works that combine geometric drawings, numerical series, images and writings, Hanne Darboven (Munich, Germany, 1941 - 2009) is often associated with conceptual art, a correlation that should be nuanced further given the unmistakably subjective nature of the process of realization and expression of her works.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Manzoni began to interrogate the nature of the art object itself with a series of proto - Conceptual works.

Together with Performance art, Conceptual art and Arte Povera, it went to pave its own way across a variety of artistic genres, media and styles, and in the process, it formed a strong connection with Environmental art movement, due to the dedication to nature, its systems and forces.

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 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.

As a towering figure of 20th century American conceptual art and as one of the most influential teachers of a generation of artists, Baldessari's new works ultimately questions the very nature of the artist's place within the canon of art history itself.

Suzanne Stryk has shown her conceptual nature paintings in solo exhibits throughout the United States, including the Morris Museum of Art (GA), the United States Botanic Garden (DC), The Eleanor B. Wilson Museum (VA), and Gallery 180: The Illinois Institute of Art (Chicago).

The Leiber Collection is just one of the many crown jewels of the institution's holdings of this nature (Tom Marioni's Museum of Conceptual Art archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual artConceptual Art archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual art researArt archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual artconceptual art researart research.

The best - known aspects of the Vogel Collection are minimal and conceptual art, but these donations also explore numerous directions of the post-minimalist period, including works of a figurative and expressionist nature.

Part of Sol LeWitt's «Sentences on Conceptual Art,» this single line encapsulates not only a large portion of contemporary artistic practice, but the inherently contradictory nature of human creativity itself.

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.

, The Upcoming, 19 February Chayka, Kyle, App Art: David Shrigley's «Light Switch» Takes a Swipe at Conceptual Art on the iPhone, Art Info, 16 February Hogan, Ruth, David Shrigley: Brain Actvity, This is Tomorrow, 16 February Charlesworth, JJ, David Shrigley: Brain Activity, Time Out, 8 February Gayford, Martin, Monster's Boots, Terrier Draw Ironic Laughs in London, Bloomberg Businessweek, 6 February Darwent, Charles, David Shrigley: Brain Activity, The Independent, 5 February Januszczak, Waldemar, Absurdly Amazing David Shrigley, Culture, The Sunday Times, 5 February Gillions, Jennie, David Shrigley: Brain Activity at the Hayward Gallery, Culture 24, 3 February Sutcliffe, Tom, The luxurious nature of whimsy, The Independent, 3 February What Does David Shrigley Do All Day?

«The Wilderness,» Miami Art Museum says, «is an examination of the conceptual boundaries between nature and human civilization.

-LSB-...] British art collector and gallery owner Charles Saatchi has cleared out his dead sharks, cow heads in glass, dirty beds, and anything of a conceptual nature, to replace them with good old -LSB-...]

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

This eccentric, undocumented incident marked the beginning of an artistic career that would lay the groundwork for the 1960s conceptual art movement and challenge traditional assumptions about the nature of the art object.

As a towering figure of 20th - century American conceptual art and as one of the most influential teachers of a generation of artists, Baldessari's new works ultimately questions the very nature of the artist's place within the canon of art history itself.

The exhibition addresses the varied concerns of modern and contemporary artists for the natural world: from realist landscapes to abstraction, Conceptual art to Pop art, Our Good Earth illuminates how artists reveal the marvels of nature, express compassion for the fragile beauty of flora and fauna, and caution against threats to the natural world.

, The Kitchen, New York, US A Bit Of Matter And A Little Bit More, i.e. Decorated, screening About the Strange Nature of Money (Museum des Geldes), Stadtische Kunsthalle Dusseldorf, Dusseldorf, DE; Van Abbemuseum, Eindhoven, NL; Centre Georges Pompidou, Paris, FR; Palais des Beaux Arts, Brussels, BE Artists» Books, Biennale Internazionale della Grafica d'Arte, Firenze, IT Conceptual Art, Julian Pretto Gallery, New York, US New York Now, Mead Art Gallery, Amherst College, Amherst, Massachusetts, Of Matter And A Little Bit More, i.e. Decorated, screening About the Strange Nature of Money (Museum des Geldes), Stadtische Kunsthalle Dusseldorf, Dusseldorf, DE; Van Abbemuseum, Eindhoven, NL; Centre Georges Pompidou, Paris, FR; Palais des Beaux Arts, Brussels, BE Artists» Books, Biennale Internazionale della Grafica d'Arte, Firenze, IT Conceptual Art, Julian Pretto Gallery, New York, US New York Now, Mead Art Gallery, Amherst College, Amherst, Massachusetts, of Money (Museum des Geldes), Stadtische Kunsthalle Dusseldorf, Dusseldorf, DE; Van Abbemuseum, Eindhoven, NL; Centre Georges Pompidou, Paris, FR; Palais des Beaux Arts, Brussels, BE Artists» Books, Biennale Internazionale della Grafica d'Arte, Firenze, IT Conceptual Art, Julian Pretto Gallery, New York, US New York Now, Mead Art Gallery, Amherst College, Amherst, Massachusetts, US

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

The 1960s and 1970s are recognized as the defining era of the Conceptual Art movement, a period in which centuries - held assumptions about the nature of art itself were questioned and dissolvArt movement, a period in which centuries - held assumptions about the nature of art itself were questioned and dissolvart itself were questioned and dissolved.

In the triad of his collages, which are commentaries on the art world (1940s), the performative series of slides on the formal constellation of the world of art, religion, nature, and architecture (from the late 1950s), and these ultimate paintings (beginning in 1960), he opened a path towards Minimalist and Conceptual art.

In a continuation of the institutional critique espoused by Conceptual artists such as Marcel Broodthaers, Daniel Buren, Hans Haacke, and Michael Asher, photographer Louise Lawler questions the very purpose and nature of art.

Bad Painting rejected «good taste» as well as the spurious intellectualism of Conceptual art, and its works reflected the disturbing and violent nature of contemporary American society.

The exhibition presents many different approaches to the art of drawing, from the expressive to the conceptual, focusing especially on its experimental nature.

Part sculpture, drawing, and performance, the active, cross-disciplinary nature of Dadson's paintings finds a corollary in their titles, which he often borrows from canonical examples of conceptual and performance art.

The conceptual and spatially driven nature of his art suggests a synthesis of work by Andy Warhol, Donald Judd, and John McCracken.

Contemporary British art collector and gallery owner Charles Saatchi has cleared out his dead sharks, cow heads in glass, dirty beds, and anything of a conceptual nature, to replace them with good old fashioned paintings on canvas, hanging on walls, and sometimes with frames on them.Continue Reading

Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship with the viewers.

Contemporary British art collector and gallery owner Charles Saatchi has cleared out his dead sharks, cow heads in glass, dirty beds, and anything of a conceptual nature, to replace them with good...

But Weaver could just as easily have been describing the intent of the Danish - Icelandic conceptual artist Olafur Eliasson's «Green light — An artistic workshop,» which will occupy the Central Gallery; the large - scale photographs of Thomas Struth's «Nature & Politics,» which will fill the premier Skylight Gallery; Diana Thater's nine - channel video «The Starry Messenger» in the Reception Gallery; and interactive digital works by the Tokyo collective teamLab in the two Media Arts Galleries.

Furthermore it will for example allow people who are blind or deaf to explore the conceptual nature of visual and sound art along side non-disabled people.»

Reflecting on a work of art can open up conceptual meaning, but if we can suspend our preconceptions in the actual encounter, we can enter a state of contemplation, rather than reflection, in which we experience the nature of what is actually there — its ineffability, its inability to be pinned down, or somehow defined or even known.