Sentences with phrase «first readymade»

Alone in his studio he created his first readymade by selecting and presenting a found object, Bicycle Wheel.

Marking the 99th anniversary of Marcel Duchamp's first readymade sculpture — a bicycle wheel mounted on a painted stool — the Contemporary Art Museum Houston's It Is What It Is.

In 1913 he made his first readymade, Bicycle Wheel — a bicycle wheel mounted on a kitchen stool.

To mark the centenary of Duchamp's first readymade, What Marcel Duchamp Taught Me, the ambitious group show at the Fine Art Society on New Bond Street, London, seeks to establish his wide - ranging influence on contemporary artists.

Not exact matches

That's the first sign of trouble: This unwieldy premise was never readymade to be stuffed into a nimble feature - length running time, and now we know why.

Other readymades in this first room include works from The New series (1980 - 83), Hoovers bought and kept in pristine condition in plastic display cases, like collectors» items, or props from American Psycho — the film being rather apt, as it was in 1979 that Koons started working on Wall Street as a commodities broker.

The first exhibition in its new space will be «Readymades Belong to Everyone,» a survey of artists positioning objects within architectural spaces curated by Fredi Fischli and Niels Olsen.

The artist first encountered these unadorned objects as found or readymade works of art at his local Walgreens pharmacy, where he noted: «Half of the store seems dedicated to catalysing chronic bodily decay, and the other half seems dedicated to the fallout.»

From my very first solo exhibition with Jack Shainman, titled «(MAPS),» 2011, to my last exhibition, «Like the Sea,» 2014, each iteration has been a means of emphasizing the unreliability of the singular portrait packed with «readymade» attributes.

The first group of works in the exhibition offers a journey through modern art, beginning in the early twentieth century with Picasso and the invention of cubism and Duchamp and the questions surrounding the readymade.

These works recall and effectively extend the notion of the artist as creator of ideas, a concept first broached by Marcel Duchamp (1887 — 1968) with his iconic readymades of the early twentieth century.

In his first series of works, Jeff Koons's artistic intention was to develop Marcel Duchamp's notion of the readymade.

From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture, which examined sculpture in the wake of Marcel Duchamp's erotic objects and hand made readymades of the 1960s.

From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture which examined sculpture produced in the wake of Marcel Duchamp's erotic objects and hand made readymades of the 1960s.

Taking note from Marcel Duchamp, who first utilized the found object as readymade, Broodthaers reworked its implementation and used groups of objects and even entire exhibitions as readymades, as in Section des Figures (1972), installed by his «fake» art museum referenced above.

You don't live here anymore Curator: Montserrat Albores Gleason The exhibition reflects on the idea of dwelling, taking its point of departure from the paradox generated in the domestic space by the conception and first private exhibition of Marcel Duchamp's «readymades.»

Minimalist sculptor Dan Flavin was the first to adopt the medium, creating sculptures from straight glowing bars of neon, using the commercially available materials as a sort of readymade.

While Duchamp's readymades, and later Warhol's Soup Cans and Brillo Boxes spoke to the rise of mass production, Craig - Martin's graphic style — easily recognizable and photographable — assumes a decontextualized life online, an extension of the idea he first formed several decades ago.

Subodh Gupta, one of the best - known Indian contemporary artists and master of readymade, is represented this year in Monnaie de Paris with his first personal exhibition in France.

The Fountain was the first example of what's now called «the readymade»: an ordinary object that becomes art merely due to its context; otherwise it's just an ordinary object.

Art was revolutionised when in 1913 Marcel Duchamp (1887 - 1968) created his first «readymade», Bicycle Wheel, although it was not exhibited until the following year.

Marcel Duchamp is usually credited as inventing the readymade, but the essential idea of taking something preexisting and elevating it into art did exist before he created his first one (a bicycle wheel atop a kitchen stool) in 1913: in Pablo Picasso's Still Life With Chair Caning from 1912, for example, the artist collaged a piece of woven chair backing onto a two - dimensional canvas, and before that Degas clothed his Little Dancer of Fourteen Years (1881) in a real tutu.

His first novel The Readymades was published in 2011 and was followed by the novel Oslo, Norway in 2015.

Meeting Duchamp when the Pasadena Art Museum hosted the French conceptual artist's first U.S. show, Ruscha was especially affected by his use of «readymade» objects and imagery, rendered unfamiliar through unexpected titles or text.

Now nearly twenty years on from its first exhibition, the artist sees the readymade differently: «With history and time the bed now looks incredibly sweet and there's this enchantment to it.

His famous series of sinks made during the 80s AIDS epidemic could at first be dismissed as readymades, until we realize that these are meticulously crafted plaster objects.

She curated Damian Ortega's first major exhibition in the USA at ICA Boston (2009), the exhibition, An Unruly History of the Readymade for the Jumex Collection in Mexico (2008), and the first Reykjavik Art Festival in Iceland in 2005.

He would not show the work for another year — the first «pure readymade» is dated to the 1914 Bottle Rack».

The Readymade Century examines Duchamp's readymades from two perspectives, beginning with the genesis and consistency of Duchamp's concept in the first 50 years of the «readymade century,» 1916Readymade Century examines Duchamp's readymades from two perspectives, beginning with the genesis and consistency of Duchamp's concept in the first 50 years of the «readymade century,» 1916readymade century,» 1916 to 1964.

+ Jeff Koons showed off what looked like a big pile of Play - Doh and an inflatable Hulk at the Whitney Museum as part of his first New York retrospective, and later sold other peoples handbags as readymades.

Bypassing Duchamp, the readymade are only the first objects which are given a new identity through alteration.

When first asked about his opinion on readymades, the artist said, «The curious thing about the readymade is that I've never been able to arrive at a definition or explanation that fully satisfies me».

This selection help us to understand his progressive concept of «sculpture as form, sculpture as structure, sculpture as place» and, in addition the exhibition focuses on the key role of language in Andre's artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper and, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp's readymades.

Other works include new concrete sculptures; Kapoor's first major sculpture using a readymade object; and a room designed to induce a powerful sensation of unease.

Lastly, the exhibition will assemble, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp's readymades.

The term readymade was first used by French artist Marcel Duchamp to describe the works of art he made from...

First, from an art - historical perspective, the equation between art and reality conjures up the tradition of the readymade initiated by Marcel Duchamp and transformed by postwar artists such as Robert Rauschenberg, who in 1959 famously declared: «Painting relates to

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