Sentences with phrase «immaterial art»

It even looked as if the new extended Tate Modern might be entirely given over to immaterial art.

In 2006, Ruthenbeck wrote, «we are moving towards immaterial art, yet we only approach it in small steps».

Her writing and curatorial practice encompass the fields of contemporary African and Diaspora arts, gender - related topics, design, immaterial art practices and sound.

More and more artists are interested in immaterial art including Sehgal.

Sehgal's immaterial art is standing next to Koons, an artist whose work «Balloon Dog (Orange)» is the epitome of material art.

NEON is partnering with the Marina Abramović Institute (MAI) for the first time, on a major collaboration of Performance and Immaterial Art in Athens.

Not exact matches

«A Point of View: Selected Gifts from the Laurence A. Rickels Collection,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, February 13 — March 11 2012 «Blues for Smoke,» Museum of Contemporary Art, Los Angeles, October 21 — January 7, 2013; traveled to the Whitney Museum of American Art, New York, NY, February 7 — April 28, 2013, and Wexner Center for the Arts, Columbus, OH, September 21 — January 5, 2014 «Group Face,» Paradise Garage, Venice, CA, September 22 — October 24, 2012 «DECADE: Contemporary Collecting 2002 - 2012,» Albright - Knox Art Gallery, Buffalo, NY, August 21, 2012 - January 3, 2013 «Prima Materia,» Gladstone Gallery, Brussels, Belgium, March 30 — April 28, 2012 «Intimate Immensity: The Susan and Larry Marx Collection,» Hammer Museum, Los Angeles, CA, February 14 — May 6, 2012 2011»... there is a crack in everything,» Michael Janssen, Berlin, Germany, November 12 - December 20, 2011 «Under Destruction,» Swiss Institute, New York, NY, March 15 — May 28, 2011 «Paul Clay,» Studio 94 Bowery, New York, NY, June 23 — July 30, 2011 «De-Building,» Christchurch Art Gallery Te Puna O Waiwhetu, Christchurch, New Zealand, February 5 - 22 2010 «The Artist's Museum,» Museum of Contemporary Art Los Angeles, Los Angeles, CA, October 31, 2010 - January 31, 2011 «Under Destruction,» Museum Tinguely, Basel, Switzerland, October 15, 2010 — January 23, 2011; traveled to the Swiss Institute, New York, NY, April 6 — May 8, 2011 «The Jewel Thief,» Tang Museum at Skidmore College, Saratoga Springs, NY, October 9, 2010 — February 27, 2011; catalogue «Immaterial,» Ballroom Marfa, Marfa, TX, October 1 — February 20, 2011 «The Artist's Museum,» Museum of Contemporary Art, Los Angeles, September 19 — January 31, 2011 «Selections from the Hammer Contemporary Collection,» Hammer Museum, Los Angeles, July 3 - January 30, 2011 «Collecting Biennials,» Whitney Museum, New York, January 16 - November 28, 2010 2009 «Collection: MOCA's First Thirty Years,» Museum of Contemporary Art, Los Angeles, CA, November 15, 2009 - July 12, 2010 «Collecting History, Highlighting Recent Acquisitions,» Museum of Contemporary Art, Los Angeles, CA, July 12 — October 19, 2009 «Abstractionists Unite!»

The precedents of modern abstract art are investigated through works by the followers of Hindu Tantric art (17th century) and the Theosophists (19th century) who used forms - color as sources for meditating and the immaterial transmission of thought.

Speaking of a museum's influence in a commercial art world, Fraser writes, «It is not only the immaterial character of art discourse that predisposes it to this function and mode of operation» — but hey, it can hardly help.

1997 Trade Routes: History and Geography II Johannesburg Biennale, Johannesburg, South Africa V International Istanbul Biennale, Istanbul, Turkey Material Immaterial, The Art Gallery of New South Wales, Sydney, Australia Arco Contemporary Art Fair, Recinto Ferial Juan Carlos I, Madrid, Spain Antarctica Artes com a Folha, Ibirapuera, São Paulo, Brazil Material Immaterial, The Art Gallery of New South Wales, Sydney, Australia

Calling himself «the painter of space», Klein «sought to achieve immaterial spirituality through pure color» and concerned himself with the «contemporary notions of the conceptual nature of art «1.

He invented another kind of conceptual art based on the sale of «zones of immaterial pictorial sensibility.»

Included in this section are works that directly echo criminal ideas, such as Maurizio Cattelan's framed theft report for an immaterial artwork he claimed as robbed — Senza titolo (1991)-, or Stolen Rug (1969), a Persian carpet that Richard Artschwager commissioned to be stolen for the exhibition «Art by Telephone» in Chicago.

1997 Lagnado, Lisette, Rivane Neuenschwander, Immersion in Time in «5th International Istanbul Biennial», pp. 162 - 63 Herbert, Martin, Rivane Neuenschwander, Time Out, 28 May, p. 47 Fioravante, Celso, Vazio Escultórico, Vogue Brasil, May Material Whirl, State of the Arts, April, p. 8 Murria, Alicia, Arco y Latinoamerica, Art Nexus magazine, no. 24, April - June, pp.105 - 107 Papastergiadis, Nikos, Material Immaterial, Art / Text, August - October Genocchio, Benjamin, Material Immaterial, Look - Art Gallery Society of New South Wales Magazine, March Genocchio, Benjamin, Concrete Poetry, World Art, no. 12 Material Immaterial, Art Gallery of New South Wales, Sydney Murria, Alicia, Arco y Lationoamerica, Art Nexus magazine, no. 24, April - June, pp. 105 Fioravante, Celso, Vazio Escultorico, Vogue Brasil, May Smee, Sebastian, Asking the Right Questions, Art Monthly Australia, no. 99, May Bifulco, Adriana, Formigas que Viram Arte, Jornal da tarde, 2 July Fioravante, Celso, Aristas Brasileiros vao a Australia, Folha de São Paulo, 23 January ARCO «97, Casa Triângula, February, p. 100 Brasileiros Conquistam o Mundo, Celso Fioravante, Folha de São Paulo, 10 February

Drawing from Hughes» remark on the assumption that «all of us had a sense of rhythm», this exhibition presents an original research into rhythmic sources in performative, material, and immaterial productions within African traditional and contemporary cultures, and extends this assertion to the field of contemporary art; opening up the «us», referring to black people, to a cross-cultural and multidisciplinary engagement with notions of rhythm.

Immaterial has been made possible through the support of the Texas Commission on the Arts and the Cowles Charitable Trust, with generous contributions by Suzanne Deal Booth, Tim Crowley, Peter and Hilary Hatch, Peter Blum Gallery, New York, Hauser & Wirth, New York, Molly Kemp, Sabrina Franzheim, and Ballroom Marfa members.

By using the exhibition as a forum to consider process - driven practices, Immaterial will consider art's potential to transcend conscious states through a plurality of visual languages.

It is not immaterial in the way conceptual art aspired to be.

The group show which reflects on color and on the investigation of modern art as well, taking as the starting point the followers of Hindu Tantric art (17th - century) and the Theosophists (19th - century) who used forms - colors as sources of meditating and immaterial transmission of thought, features the works of: Carla Accardi, Bas Jan Ader, Etel Adnan, Hilma af Klint, Josef Albers, Giovanni Anselmo, Karel Appel, Arman, Ed Atkins, John Baldessari, Giacomo Balla, Robert Barry, Lothar Baumgarten, Claude Bellegarde, Annie Besant (with Charles W. Leadbeater / painted by Lady MacFarlane & Mr Prince & John Varley), Jakayu Biljabu, Irma Blank, Norman Bluhm, Mel Bochner, Alighiero Boetti, Kerstin Brätsch, Alberto Burri, André Cadere, Corrado Cagli, Alexander Calder, Carlo Carrà, Felice Casorati, Enrico Castellani, Aslı Çavuşoğlu, Michel Eugène Chevreul, Mikalojus Konstantinas Čiurlionis, Tony Cragg, Carlos Cruz - Diez, Giuliano Dal Molin, Sonia Delaunay, Nicola De Maria, Fortunato Depero, Nicolas de Staël, Piero Dorazio, Olafur Eliasson, Bracha Ettinger, Lara Favaretto, Oskar Wilhelm Fischinger, Dan Flavin, Lucio Fontana, Katharina Fritsch, Vittorio Gallese, Giuseppe Pinot - Gallizio, Theaster Gates, Rupprecht Geiger, Leo Gestel, Piero Gilardi, Liam Gillick, Johann Wolfgang von Goethe, Gotthard Graubner, Giorgio Griffa, Gruppo MID, Paul Guiragossian, David Hammons, Camille Henrot, Auguste Herbin, Arturo Herrera, Damien Hirst, Channa Horwitz, Johannes Itten, Alexej von Jawlensky, Asger Jorn, Donald Judd, Wassily Kandinsky, Anish Kapoor, Ellsworth Kelly, Paul Klee, Yves Klein, František Kupka, Wolfgang Laib, Jim Lambie, Basim Magdy, Alberto Magnelli, Estuardo Maldonado, Antonio Mancini, Édouard Manet, Henri Matisse, Gustav Metzger, Piet Mondrian, Maria Morganti, Edvard Munch, Gabriele Münter, Bruce Nauman, Sir Isaac Newton, Mario Nigro, Otobong Nkanga, Kenneth Noland, Hélio Oiticica, Giulio Paolini, Tancredi Parmeggiani, Pino Pascali, Eugénie Paultre, Giuseppe Pellizza da Volpedo, Heather Phillipson, Francis Picabia, Michelangelo Pistoletto, Sigmar Polke, Lea Porsager, Alejandro Puente, Walid Raad & The Atlas Group, Edi Rama, Gerhard Richter, Hans Richter, Gerwald Rockenschaub, Mark Rothko, Thomas Ruff, Friedlieb Ferdinand Runge, Luigi Russolo, Anri Sala, Mario Schifano, Shōzō Shimamoto, Ettore Spalletti, Simon Starling, Haim Steinbach, Hito Steyerl, Mika Tajima, Atsuko Tanaka, Cheyney Thompson, Warlimpirrnga Tjapaltjarri, Luis Tomasello, Giulio Turcato, Joseph Mallord William Turner, James Turrell, Viktor Vasarely, Alfredo Volpi, Franz Erhard Walther, Andy Warhol, Liu Wei, Lawrence Weiner, Marianne Werefkin, Ye Xianyan, Fahrelnissa Zeid, Gilberto Zorio.

Curated by Richard Birkett «in dialogue» with artist Sam Lewitt (the dialogue started during a conference at New York's Artists Space in 2012), And Materials and Money and Crisis features work by 11 artists (of whom Lewitt is one) and seeks to address the issue of how immaterial factors — the conditions of production and display, the language used to talk about art and the forms of exchange surrounding it — affect the reception of artworks.

Recognized by Donald Judd in his 1965 essay Specific Objects, Ortman developed a new type of art, neither painting nor sculpture, that rendered immaterial the distinctions between image and object.

For our exhibition, Immaterial, we hosted students from the Marfa Studio of the Arts» after - school program in January 2011.

Immaterial (on view at Ballroom Marfa until February), explores arts potential to transcend conscious states, while not privileging the metaphysical over the sensuous.

Immaterial (on view at Ballroom Marfa until February), explores arts potential to transcend conscious states, while not privileging More...

The connection between raw material and its consumption by the immaterial systems of global capitalism is the main theme running through Metal, a group show of five artists at Middlesbrough Institute of Modern Art, which forms part of the AV Festival, a biennial programme of art, film and music in the northeast of England, now in its sixth iteratiArt, which forms part of the AV Festival, a biennial programme of art, film and music in the northeast of England, now in its sixth iteratiart, film and music in the northeast of England, now in its sixth iteration.

«In retrospect, one might see parallels between Pousette - Dart's work and tendencies among his younger contemporaries to stress immaterial and performative qualities of art, highlight the creative process, and provide immersive environments.»

So far Liberate Tate's case has been propagated through a series of attention - grabbing, guerrilla - style actions, but in collaboration with Platform — a London - based arts organisation working towards social and ecological justice — Tate à Tête, 2012, an alternative Tate gallery audio guide, has moved both groups» activism into a kind of immaterial territory.

In the 1960s, Boezem discovered the use of elusive elements such as air, weather and wind for his art and made a name with radical, immaterial works that were far ahead of their time.

Cory Arcangel might be the best - known artist associated with post-Internet art that physicalizes immaterial digital structures — and he's certainly the only one to have had a solo exhibition at the Whitney at the age of 33.

Probably the best - known artist in his field, Turrell's entire oeuvre since the 1960s has been devoted to exploring the diverse manifestations of this immaterial medium and working towards a new, space - defining form of light art.

1998 Drawing, Cabrillo College Gallery, Cabrillo College, Aptos, CA First Decade: Highlights from The Contemporary Museum's Collection, The Contemporary Museum, Honolulu, HI Material / Immaterial, Berkeley Art Museum, University of California, Berkeley, CA

This unique collaborative initiative between Queens College Art Department (CUNY: City University of New York) and the Queens Museum of Art — integrates social, tactical, immaterial, and interventionist art forms in tandem with the museum's ongoing, in - depth activities in socially - based art and grassroots community engagement under the expert guidance of a group of artists, administrators, educators engaged with local issues specific to QueeArt Department (CUNY: City University of New York) and the Queens Museum of Art — integrates social, tactical, immaterial, and interventionist art forms in tandem with the museum's ongoing, in - depth activities in socially - based art and grassroots community engagement under the expert guidance of a group of artists, administrators, educators engaged with local issues specific to QueeArt — integrates social, tactical, immaterial, and interventionist art forms in tandem with the museum's ongoing, in - depth activities in socially - based art and grassroots community engagement under the expert guidance of a group of artists, administrators, educators engaged with local issues specific to Queeart forms in tandem with the museum's ongoing, in - depth activities in socially - based art and grassroots community engagement under the expert guidance of a group of artists, administrators, educators engaged with local issues specific to Queeart and grassroots community engagement under the expert guidance of a group of artists, administrators, educators engaged with local issues specific to Queens.

Unless the future of art moves towards the immaterial like sound and music, as performance artist Marina Abramovic has suggested... But is there a particularly African sound art scene (or sound art that could be described as African)?

No less artist than alchemist, Christie combines his knowledge of digital illustration, human biology, spirituality, and art practice into works that bring the immaterial into the material realm.

Born 1970, New Haven, CT Lives and works in New York City EDUCATION 2001 MFA, Columbia University, School of the Arts, New York 1993 BFA, Massachusetts College of Art, Boston 1988 — 90 Boston University, School of Fine Arts, Boston ONE PERSON AND TWO PERSON EXHIBITIONS 2011 D'Amelio Terras, New York, NY 2010 The Framed Guests, University of Hawaii School of Architecture Gallery, Manoa Campus, Honolulu, HI; organized by UH Intersections and Interisland Terminal Trouble Everyday, D'Amelio Terras, New York, NY Heather Rowe and Kevin Zucker: SD Studio Dynamics 57UMSTRA1 «Strata # 1,» Unmounted, 5x7, Forever & Today, Inc., New York, NY Tenuous Arrangements, Indianapolis Museum of Art, Indianapolis, IN 2009 UMMA Projects: Heather Rowe, University of Michigan Museum of Art, Ann Arbor, Michigan (curated by Jacob Proctor) Galerie Michael Zink, Berlin, Germany 2007 On Returning, D'Amelio Terras, New York, NY 2006 Green Desert, D'Amelio Terras, New York, NY Shadows of a Doubt, Galerie Michael Zink, Munich, Germany SELECTED GROUP EXHIBITIONS 2012 In the Mirror of Myself, Galerie Zink, Berlin, Germany (forthcoming) Undetectable, La MaMa La Galleria, New York, NY; curated by Nathan Lee Steel Life, Michael Benevento, Los Angeles, CA; curated by Zak Kitnick House Arrest, Franklin Street Works, Stamford, CT; curated by Terri C Smith 2011 Toward A Philosophy of the Everyday, Castle Gallery, College of New Rochelle, New Rochelle, NY; organized by Susan M. Canning The Light Show, Kate Werble Gallery, New York, NY Improvising Architectures, MIA, Miami, FL; curated by Gean Moreno 2010 Painting and Sculpture, Lehmann Maupin, New York, NY The Every Other Day, Ideobox Artspace, Miami, FL; curated by Donald Johnson Montenegro It's All American, New Jersey Museum of Contemporary Art, Asbury Park, NJ Immaterial, Ballroom Marfa, Marfa, TX; curated by Fairfax Dorn.

Absence, negation, the absurd, the immaterial, the ineffable, nothing and nothingness were all made manifest by this group exhibition of art since the 1970s, which also studied the history of the empty gallery.

Including abstinence from solid food, alcohol and cigarettes, in addition to the change in his sleeping patterns, these bring to critical light the temporal, immaterial, and physiological labor of artists at a time when commodification of art production is keenly felt in Hong Kong.

The exhibition begins to take off with an Andy Warhol - illustrated cover for a recording of a radio broadcast on drug use («The Nation's Nightmare,» 1952); Jean Cocteau's sleeve for a Berthe Bovy reading of his play «La Voix Humane» (1958); and a 1959 monochrome, Yves Klein - blue cover for recordings of Klein's lectures «The Evolution of Art Toward the Immaterial» and «The Architecture of the Air» (1959).

In her latest exhibition, Shirazeh Houshiary investigates the friction between the conscious and unconscious, control and chance, reflecting on the physical and immaterial qualities that shape art and human life.

The sequence of immaterial documents from the Teche Rai archives combined with the materiality of paintings, sculptures and installations l develop in three separate sections and analyze the relationships between Italian public television with visual art, politics and entertainment.

His project has concentrated on the material and immaterial conditions that inflect, alter or color the experience of Islamic, modern and contemporary «Arab» art.

His art is completely immaterial; it can be bought and sold without involving any objects whatsoever.

An Immaterial Survey of Our Peers, a group show curated by The Jogging, placed digital images of the selected artists» works into a virtual simulacrum of the School of the Art Institute of Chicago's galleries, images which were then projected into the actual gallery.

Sculpture Center, in association with Volunteer Lawyers for the Arts, presents a panel discussion on issues of public and private space, physical and immaterial, artistic and legal.

Whether as anti-art, institutional critique, conceptualism, exploration of the immaterial or the dematerialization of the art object, the empty or near empty gallery has been a mainstay of contemporary art for almost fifty years.

In light of a current preoccupation with art evolved from the immaterial object to how a human handles it, the show explores «the residue of an activity that may or may not have happened».

In France, Yves Klein's choreographed installation and his sale of Zones of Immaterial Pictorial Sensitivity provided more examples of ethereal and time - based art, as did Georges Mathieu's theatrical demonstrations of painting, which he took to Japan.

Before performance art adopted a definite form in the established art world BOZAR opened the doors of the Centre for Fine Arts to proponents of «immaterial» art.

, LIAF, Lofoten International Art Festival, Norway Rematerialized New Galerie Paris / New York, New Galerie, Paris on Off moments, Grimmuseum, Berlin Le tamis et le sable 2/3: L'Intervalle, Instants Chavirés, Paris New Eyes for New Spaces, ISCP, New York Und everybody says yeah — on internet meme, The House of Electronic Arts, Basel 2012 The End (s) of the Library, Goethe - Institut New York Library, New York The Making of Americans: A marathon reading of Gertrude Stein's novel, Triple Canopy, New York Let us keep our own noon, curated by David Horvitz, West, Den Haag Rome Photo Festival, MACRO, Testaccio, Rome Fair Exchange, curated by Taeyoon Choi, Eyebeam, New York Canceled: alternative manifestations and productive failures, organised by Lauren van Haaften - Schic, Center for Book Arts, New York Frieze, with Triple Canopy, New York Group exhibition, Access Art, Vancouver Matter Out of Place, The Kitchen, New York Scenes of Selves, Occasions for Ruses, Surrey Art Gallery, Vancouver In search of..., curated by Lennard Dost and Daniel Dennis de Wit, Academie Minerva, Groningen the chief on top of the chief, MIRACLE & CONNELLY PRESENTS, Vancouver Force Fields, curated by Alexis Granwell and Jenny Jaskey, Tiger Strikes Asteroid, Philadelphia 2011 The Greater Cloud, curated by Petra Heck, Netherlands Media Art Institute, Amsterdam Worng, IMO, Copenhagen Intimate Bureaucracies: Art and the Mail, curated by Zanna Gilbert, Art Exchange, University of Essex, Essex Subject to Change, Fathom + Hatch, New York The Best of 2011, Soloway, Brooklyn, New York The Open Daybook, Los Angeles Contemporary Exhibitions, Los Angeles FINISHED, Showpaper 42nd St Gallery, New York, New York As Yet UnTitled, SF Camerawork, San Francisco LATE Nights, Berkley Art Museum, Berkeley, California (performance) 2010 FREE, New Museum, New York Different Repetitions, curated by David Senior, Booklyn, New York Palling Around with Socialists, U-turn Art Space, Cincinnati, Ohio We have as much time as it takes, Wattis Institute for Contemporary Arts, San Francisco FAX, Burnaby Art Gallery, Vancouver An Immaterial Survey of our Peers, Chicago (online) 01, Presented by 01 Magazine, 107 Shaw Gallery, Toronto The Page, Guggenheim Gallery, Chapman University, Orange, California Burn, Baby, Burn!

The show became a dialog of how works could either assume material form or remain immaterial, documenting an important revelatory concept in the history of art.