Sentences with phrase «conceptual nature of his work»

Hung low on the wall so that the line is about waist high for this viewer, the gesture was as much mental as physical, which seems appropriate given that many consider the point of LeWitt to be the conceptual nature of his work.

Accompanying this work is a survey, which acts as an exhibition statement and a means of researching the conceptual nature of the work.

An interesting concept that develops further the conceptual nature of his work, establishing a direct confrontation of the transient nature of graffiti and its aesthetics.

Not exact matches

A final conceptual model was created to explain the interrelated nature of the themes and may be helpful to those who work with fathers and / or families of new infants.

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.

6) Who: Again, list three peer - reviewed works that support the conceptual basis of the problem and describe the nature of the support.

The reductive nature of his work can be likened to that of Sol LeWitt, Robert Ryman and Lucio Fontana; planes of marble cut across one another, effortlessly elegant and poised with geometric and conceptual precision.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

A conceptual artist who works across a variety of media; themes of energy, nature, technology, history and perception occur throughout his practice as he examines narratives of places, people and objects.

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.

Using a classic Conceptual strategy - i.e., a limited, predetermined set of ideas or conditions in which to execute a work - she reconsiders the nature of visual perception through an engagement with everyday objects and situations...

From the 1961 Milk Bottle paintings to his latest works, Goode has consistently questioned the nature of experience through the continuous refinement of this basic, conceptual theme.

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

Can Pekdemir is an Istanbul - based conceptual artist working on deformation and abstraction of body forms using various methodologies and focused on isolated urban spaces, city and nature relationship using photography as a tool of documentation.

Tuymans has specifically selected these artists for the individual nature of their practice and the paradoxical way each of them uses their medium — as the artist himself is a figurative painter who constantly seeks to extend the traditional boundaries of his own practice — Tuymans has sought to recognise a similar trait in the artists he has chosen to exhibit; their works collectively investigate the potential, formal and conceptual tensions within the notion of abstraction.

Each artist's practice negotiates the nature of physical surface and conceptual process, connecting the surface appearance of the work with its meaning.

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.

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.

If metaphoric imagery fills the»em pty» pictorial spaces of Rothko's work, however, it also bears o the precise formal and conceptual nature of that space, especially when the metaphors conflict.

These selected works from MMoCA's permanent collection demonstrate the array of poetic meanings that have been ascribed to abstract forms, including a concern for the effect of abstract shape on our perceptions; a wish to map conceptual structures; and attempts to make visible the invisible world of nature's underlying patterns and forces.

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.

Since then we've added a number of international artists and have expanded the conceptual and material nature of the works shown.

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.

From his conceptual and performative works of the 1960s and 70s to the large - scale sculptural installations of the past ten years, Penone has explored intimate, sensate, and metaphysical connections with nature.

A conceptual artist who works across a variety of media, Joo is interested in themes of energy, nature, technology, history and perception, which he explores through narratives of places, people and objects.

Encompassing the various forms in which he works, this survey will also trace the aesthetic and conceptual concerns that run throughout his practice, such as his use of permutations and his interest in the demise of nature that accompanies urban development.

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

In the mid»80s his conceptual and arte povera — related work provoked academic discussions about the tradition of painting and the nature of perception, discussions which his more

The expressive design of the nearly all - black work as well as its conceptual nature bring to mind the charred furniture of the young Dutch designer Maarten Baas, such as in Smoke Armchair, now on view in the European Design Since 1985 exhibition at the High Museum.

Operating in a conceptual space populated by artists like James Casebere and Thomas Demand, Chris Gentile's recent work is a hybrid of sculpture and photography that asks interesting questions about the nature of both.

Encompassing the various forms in which Ibrahim works, this survey traces the aesthetic and conceptual concerns that run throughout the artist's practice, such as his use of permutations and his disquiet about the demise of nature that accompanies urban development.

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.

Based on tile work on the floor of this site - specific installation, the algorithmic nature of «Floret» typifies the conceptual abstraction of an artist deeply mindful of the observed minutiae of her surroundings.

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

His highly conceptual work poses important questions about the nature of the creativity, often using the body as a starting point.

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.

While the work exists successfully in this context, it does also raise interesting conceptual questions about the nature of individuality and artistic identity in abstract painting.

Like the work of many Conceptual artists, Mr. Asher's suffered, by its nature, in being underrepresented in museums.

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.

Furthermore, conceptual work on the potentially chaotic nature of the ISM (70) has been developed (V. Petoukhov, K. Zickfeld, and H.J.S., unpublished work) to suggest that under some plausible decadal - scale scenarios of land use and greenhouse gas and aerosol forcing, switches occur between two highly nonlinear metastable regimes of the chaotic oscillations corresponding to the «active» and «weak» monsoon phases, on the intraseasonal and interannual timescales.

Cronon's central observation, that wilderness was a cultural construct or invention, prompted scientific and conceptual work that has fundamentally challenged traditional views of nature and wilderness.