Through a series of micro-exhibitions curated by a diverse roster of collaborators, Objects and Voices reveals the multiple ways we work with, learn from, and
enjoy objects of art.
Not exact matches
I've been making breads by hand for a few months now, but got a Kitchenaid stand mixer (which I have named Julia, because I
enjoy naming inanimate
objects and the first recipe I used it for was from Mastering the
Art of French cooking) for my 15th birthday last week and can't wait to use it to take on more complex breads.
I wrote a book that I would like to read, and because I
enjoy literary allusions and little winks at historical events and
art objects, I put some
of those in there.
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1999 Contemporary Japanese
Art I, 1950s - 1970s from the Collection, The 10th Anniversary
of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum
of Contemporary
Art, Hiroshima, Japan Eyes Watching the Space,
Enjoying Painting and Space, Niigata City
Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions
of the Times, Machida City Museum
of Graphic
Arts, Tokyo, Japan Against Educational Course
of Contemporary
Art, The 20th Anniversary
of Museum Opening, Itabashi
Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary
Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine
Arts, Tokyo, Japan Out
of Actions: Between Performance and the
Object 1949 - 1979, The Museum
of Contemporary
Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum
of Applied
Arts, Vienna, Austria Museu d'
Art Contemporani, Barcelona, Spain Museum
of Contemporary
Art Tokyo, Japan
Throughout the history
of art, the female nude has been
enjoyed as an
object of male delectation, idealised and airbrushed, shown looking coyly away.
Today, the collection is comprised
of nearly 45,000
objects and
enjoys a national reputation for its print collection containing over 25,000 examples
of graphic
art.
A certain material vagueness in pigmented paper pulp thus seems ideal for Stockholder, who has always
enjoyed the erasure
of distinctions: between gross matter and
art, composition and formlessness, narrative and abstraction, sculpture and painting... «Having arrived at the Mill with digital prints
of objects she photographed in her years and studio (bright plastic bowls and containers, a drinking bottle, some gaudy cakes that had seen better times) along with real
objects (fabric swatches, the floor mat) she proceeded to collage and emboss them in stretches
of pigmented paper pulp, working in collaboration with Paul Wong.
Or they may regard it as an
object of delectation, in much the way that they have been instructed by some
art - historian - turned -
art - consultant to
enjoy a Bonnard.
Sculpture
enjoyed much higher regard at this juncture in the New York
art scene, and experimentation with moving painting into three dimensions — emphasizing its
object quality — was widespread (Lynda Benglis, Blinky Palermo, and Jack Whitten were only a few
of the artists exploring this direction).
These large - scale «posters» — at the same time conservative, modernist artworks and knowing commentaries on the commerce
of art making —
enjoyed a status as rarified
art objects that culled from sources as far ranging as the Bauhaus, vintage fashion magazines, travel posters, and fabric designs.