Sentences with phrase «ephemera into»

Turning clichés into icons and ephemera into art, these images were not of their own invention but rather drawn from real sources and stereotypes in the world.

A self - proclaimed «renegade», Cain pushes the limits of the language of abstraction, and challenges the established conventions of painting by incorporating quotidian and poetic ephemera into her paintings.

For more than 40 years, the American artist has combined collage, drawing, and painting to create autobiographical abstractions of painted minimalist patterns, inserting personal references and ephemera into his signature grid format.

Photographer Kalen Na'il Roach turns a box of familial ephemera into a thoughtful, evocative solo show.

The Library Company was early to recognize this, acquiring an important collection of Revolutionary War materials in 1785, and has since built its collection of American ephemera into one of the most important in the world.

Lippard's finest exhibition, then, was no exhibition at all, but hard - copy evidence of how one influential art historian had a finger on the pulse of the times and consequently turned the resulting ephemera into neo-Dadaist gold.

Turning clichés into icons and ephemera into art, these images were not of their own invention but rather drawn from real sources and stereotypes in the world.

Not exact matches

Bultmann seized what he could use of these ideas: the anxiety produced by the existential question; the dread produced by the answer of death to all; the attempted flight into worldly business, social status and ephemera; the rare courage to begin an existence which would be authentic because open - eyed.

Such a mechanism could turn chemical ephemera — the ebbing and flowing of calcium ions and gentle currents of nitric oxide — into changes in gene expression and finally into alterations in the «wiring» of the nervous system.

«Black» parallels the outline of «Grey» - here, the millionaire, Christian, tries to coax the college student, Hannah (the appealing Kali Hawk), into signing a contract for kinky sex - but only as much as it permits Wayans to riff on pop ephemera.

Fairfield Porter Raw presents, for the first time, many of these unfinished paintings and accompanying sketches, drawings, paintings on board and ephemera in their raw (unframed) state, offering an unprecedented insight into the creative process of an artist.»

Jackie and Main Street Clothes lent by Vintage Martini and photographs and ephemera explore the influence of Jacqueline Kennedy on fashion retail during the early 1960s, joined by ephemera, mug shots, fingerprints, and documentation of crime scene locations from the Dallas Police Department investigation into the JFK assassination.

For more than a decade, Pillsbury has been adapting this technique to a wide variety of environments and social situations as he explores the relationship between monuments and gestures, permanence and ephemera, and the photographic habit of slicing into time without actually impeding its forward momentum.

Defying attempts at easy categorization, his work combines performance, video, sound, ephemera, and photographs into projects that excavate the history of a particular region.

The works currently on display include traditional ephemera (Italian language guides, bakery business cards) as well as original works of art that mimic knickknacks, such as Sinead Cahill's hand - embroidered «girl scout» merit badges made from lithographed fabric, and many things that are not ephemeral at all, but step outside traditional fine art forms into the realm of the quotidian.

The idea is «to deepen the viewer's understanding of how value is generated and accrued within a cultural context» while showing how «printed ephemera has woven itself invisibly into our understanding of art and culture.»

These photographs capture the frenetic assemblage of readymade stuff (including toy guns, baby dolls, shoes, crockery, cans, bottles, chicken wire, detritus, bits of ephemera, etc.), the filling of bags of paint and their attachment to the wooden supports, the white - washing of paint over the entire surface, and the ultimate dunk into milky - white plaster.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Thanks to developments in conceptual art in the 1970s, wherein artists, in the lineage of Joseph Kosuth, attempted to distill the artwork into the presentation of words and ideas rather than crafted objects — not to mention the recent vogue for archival ephemera as exhibition material — artists, curators, and museumgoers are well - acclimated to seeing pieces of text on display in museum galleries.

Peeling billboard papers or merchant posters, photomechanical reproductions, hairdressing endpapers, newsprint clips, polyester cord: these are Bradford's scavenged ephemera, considered in their regular context to be visual pollution yet decontextualized and altered into art.

Together, these exhibitions offer insight into the changing role of ephemera in 21st century culture.

His series, titled «Elevated Ephemera», continued the artist's exploration wherein impermanent waste can be made permanent through its transformation into art.

Weber has witnessed this shift at political gatherings and rallies around the world, yet he feels strongly that printed ephemera will remain a viable medium for his own practice and others» as we venture into an increasingly virtual world.

Since 2004, Charles Avery (UK, 1973) has dedicated himself to the invention of an imaginary island, new corners of which he continues to chart through drawings, sculptures, texts, ephemera and (more rarely) 16 mm animations and live incursions into our own world.

Exhibiting since 1996, Tara Donovan (b. 1969, New York) has produced a body of work that transforms ephemera and the banality of everyday objects into the extraordinary.

Also on view will be photographs, a letter, a notebook and other ephemera related to the production of Ed Ruscha's (b. 1937, Omaha, Nebraska) and Lawrence Weiner's (b. 1942, Bronx, New York) 1978 collaboration Hard Light, a book of photographs and minimal text separated into chapters in the manner of a short novella.

This month, the J. Paul Getty Museum and the Los Angeles County Museum of Art, launch a major two - venue Mapplethorpe retrospective, Robert Mapplethorpe: The Perfect Medium, that digs deep into the photographer's massive archive and features more than 300 pieces of art and ephemera from every period of his prolific career.

Some archival ephemera is on view at MoMA in a gallery that leads into the screening room, but some 680 works make the Bard show encyclopedic in comparison, if an encyclopedia can be assembled from flea markets and junk shops.

Other exhibitions at MoMA include «Louise Bourgeois: An Unfolding Portrait,» the museum's third big excursion into Bourgeois's world, and «Club 57,» a museum - worthy revival of the 1980s East Village art scene via films and ephemera.

Considering desires, Ghost of a Dream collects ephemera discarded in the pursuit of dreams and reassembles this matter into hypnotic visions of cultural identity.

Tillmans's own image rarely appears here (while the gallery permits photography, the exhibition leaflet specifies «no selfie - sticks»), but the gregariousness of the curating — which features a rare videowork, a live programme, ephemera from the artist's Berlin - based project space, juvenilia like a foray into garment design and an inexplicable gong sculpture — reveals the artist in a surprising number of dimensions; he even codesigned the catalogue.

Photographs, newspapers, and magazines; fan letters, business, and personal correspondence; artwork; source images; books, exhibition catalogues, and telephone messages; dinner invitations and poetry reading announcements; and ephemera were placed on an almost daily basis into a box kept conveniently next to his desk.

Over the decades Peter Blake, octogenarian veteran of British Pop art, has been accumulating an extraordinary array of found objects, curios and ephemera which has transformed his West London studio into a series of mini-museums.

Chronologically arranged, it features works from the 1970s and 1980s interspersed with never - before - seen watercolors, collages, notes, production stills, music, and other ephemera that provide insights into the working process of one of America's most innovative and significant photographers.

In the centre of the gallery are metallic waiting room chairs, and scattered throughout the space are a range of ephemera reminiscent of airports: crowd barriers, a lost suitcase, a refuse bin, generic plants, discarded Starbucks cups, a phone plugged into the wall charging, a water cooler and directional signage on the floor.

Since 2004, the Scottish artist Charles Avery (b. 1973, Oban) has dedicated himself to the invention of this island, which is rendered and explored in increasing detail through drawings, sculptures, texts, ephemera and live incursions into our own world.

After the assassination of Dr. Martin Luther King, Jr. in 1968, this ephemera became the cultural debris of racism that she would recycle into art.

Coming ten years after Robert Blanchon's untimely death of AIDS, the first New York exhibition of his works, writing and ephemera marks the transfer of major holding of his estate into the publicly accessible archives of the Fales Library at New York University.

When placed into the window bays, the transparent screens punctuated with plant segments, photographs and other ephemera become a mutable threshold marking the surface of the building while visually merging what is inside and what is out.

Within this exhibit, each artist evokes their working space (internal / external) by placing physical items and ephemera around the completed work, to provide the audience context into personal influences that inform their craft.

Through re-contextualization, he endows adopted elements of cultural ephemera with a political charge, attempting to transform a battery of neutral art materials into signifiers of dissent.

The Walker's 2009 acquisition of the Merce Cunningham Dance Company Collection brought thousands of objects into the museum's permanent collection, from costume pieces to stage sets, backdrops, and ephemera.

The latter would exhibit the artist's own work in a group exhibition entitled «Surréalisme» in 1932 and over the course of the following three decades Cornell would further hone his approach to his signature bric - a-brac assemblages, integrating seemingly contrary, fetishized objects such as marbles, seashells, butterflies, postcards, navigational tools, toys, and sundry paper ephemera - which he sourced from antique and junk shops in New York - into highly sophisticated, strikingly organic tableaux.

Since 2004 Charles Avery has dedicated himself to the invention of an imaginary island, new corners of which he continues to chart through drawings, sculptures, texts, ephemera and (more rarely) 16 mm animations and live incursions into our own world.

The Alabama native, who made his first artwork at age 29, is known for his assemblages of found objects, incorporating natural and man - made ephemera, such as plastic flowers, crosses and steel scraps, and turning them into totemic sculptures.

The exhibition titled «Inventory» reflects upon the artists constant process of cataloging, collecting, and taking inventory of ephemera that he incorporates into his paintings.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

Ephemera comprises much of the show, and it's crammed into every nook of the galleries: there is the exhibition announcement for Ms. Lippard's legendary 1966 exhibition «Eccentric Abstraction,» which included organic, tactile work by Eva Hesse, Louise Bourgeois and others as the feminist counterpoint to minimalism; an issue of Aspen Magazine devoted to minimalism; and documentation of Richard Serra's famous molten iron piece Splashing (1968).

A century ago it was a radical concept: ephemera intended for disposal incorporated into fine artwork that was expected to have timeless value.

Since then he has delved into the Whitney archives, which contain photographs and ephemera from performances dating back to the 1960s: Cecil Taylor, Trisha Brown, Lucinda Childs, Bruce Nauman, and Philip Glass are among the artists represented.