Not exact matches
For an artist who borrows so much from contemporary black culture epitomized by the milieu on 125th street, Simmons's
current work in this context makes a strong case for the transformative (and potentially stultifying) effects of
conceptual artistic
practices.
The show expands on the rich and significant history of Latin American
conceptual abstraction and provides a contemporary view as it is
practiced by a
current generation — and contextualized -LSB-...]
Like all previous editions of Traces, the
current exhibition sets out to map contemporary
practice in the field of drawing in Israel; to outline directions and inclinations, while emphasizing the
conceptual and thematic transformations that occurred in this dynamic — traditional, yet constantly renewing — medium in recent years; and to sustain a dialogue with the previous biennials.
Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural
practice was very much ephemeral,
conceptual, or based on performance, this
current exhibition looks at the early 80s, a time when sculptural
practice in the UK went back into the workshops to experiment with a completely new approach of assembling.
Borrowing its title from a poem by Francis Ponge, The Sun Placed in the Abyss tracks how the sun has been used as a metaphor from
Conceptual art to the Pictures Generation to
current practices.
Taking into account the legacies of
conceptual art in
current art
practices.
From 70s Slovakian
conceptual artist Julius Koller working under the Soviet regime to Zero artist Heinz Mack working in post war Germany, the exhibition focuses on artists, who by going against
current practices, presented a new way of working and looking that challenged the art establishment.
The show expands on the rich and significant history of Latin American
conceptual abstraction and provides a contemporary view as it is
practiced by a
current generation — and contextualized by a small selection of works by the late Mira Schendel (1919 — 1988), whose work will be part of a 2 - person retrospective at MoMA in spring 2009.
It seems appropriate that the Art Gallery of Alberta should follow up their recent Exhibition «Traffic:
Conceptual Art in Canada 1965 — 1980» (June 25th to September 25, 2011), with a look at
current practice in this genre of the visual arts.
Tharsing has an upcoming solo show at -LCB- Poem 88 -RCB- in September so we conversed — as a remote studio visit of sorts — about her
current studio set up, living within an artistic family, and
conceptual frameworks that inform her
practice.
Selected from EXPO CHICAGO 2017 Exhibitors, the artists included in the program each engage with the medium in a dynamic way, from existing projects that seamlessly extend toward a
conceptual continuation of their
current practice, to new commissions created specifically for this expansive context.
Selected from EXPO CHICAGO 2017 Exhibitors, the artists included each engage with the medium in a dynamic way, from existing projects that seamlessly extend toward a
conceptual continuation of their
current practice, to new works created specifically for this context.