It was also around this time that the Russian - American experimental sculptor Louise Nevelson (1899 - 1988) began producing her famous assemblages known as «sculptured walls», and only a few years since Jean Dubuffet (1901 - 85) had begun his own form of
junk art which had an important impact on junk sculpture practised by Arman and others.
Not exact matches
Not long after, someone will comment how, as an
art installation, it's a withering indictment of
junk culture, in response to which our ostensible heroine Susan (Amy Adams) intones, «J
junk culture, in response to
which our ostensible heroine Susan (Amy Adams) intones, «
JunkJunk.
NEWS The D.C. Commission on the
Art and Humanities announces it will remove «The New Migration,» by Abigail DeVille after the community complains that the storefront installation in Anacostia,
which is part of a citywide exhibition, looks like
junk.
Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place,
which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video,
art - science hybrids, updated
junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.
For Immediate Release, April 8, 2014 Robert Mallary Sculptor April 24 - June 27, 2014 Allan Stone Projects is pleased to announce Robert Mallary Sculptor, April 24 - June 27, 2014, an exhibition of nine works from 1959 to 1966, the period in
which he established himself in New York as a central figure in the Neo-Dadaist assemblage and
junk art movement that followed on the heels of Abstract Expressionism.
His most recent exhibition there is Noah Purifoy:
Junk Dada (2015),
which will travel to the Wexner Center for the
Arts, Columbus, Ohio.
Overpainted Paintings are a series of works in
which Schuyff adds abstract and organic motifs to figurative
art found in
junk shops.
are a series of works in
which Schuyff adds abstract and organic motifs to figurative
art found in
junk shops.
In essence, object
art - originated by Marcel Duchamp - is any type of
junk plastic
art, that is, any three - dimensional work made from objects or materials accumulated by the artist
which are then constructed, arranged or affixed together in some symbolic or meaningful way.
His «masterpiece», Homage to New York (1960), was an assemblage or contraption made out of
junk which was supposed to self destruct in the garden of the Museum of Modern
Art, New York - except it failed to destroy itself as programmed, and started a fire instead.
At LACMA Sirmans organized Noah Purifoy:
Junk Dada,
which travels to the Wexner Center for the
Arts in January 2016.
The most famous series of «found objects» were Duchamp's «readymades», an early form of
junk art, including works like: Bicycle Wheel (1913), Bottle - Rack (1914), and Fountain (1917, a urinal) both in the Musee National d'
Art Moderne, Centre Georges Pompidou, Paris; and In Advance of the Broken Arm (1915, Replica in Moderna Museet, Stockholm; a regular snow shovel on
which Duchamp had painted its title, together with the words «from Marcel Duchamp 1915»).
Sculptors used «found objects», like the «readymades» of Marcel Duchamp, from
which they created works of
Junk art.
Reviewing 1990s shows at the Santa Monica Museum of
Art and the California African American Museum, then - Los Angeles Times critic William Wilson called Saar «an unassuming master of resonant suggestions that reverberate with wisdom,» and described her method as «using precious
junk to talk about her life,
which happens to be the life of an African American woman.
One of the most innovative of 20th century sculptors, Tinguely pioneered the combination of
junk art, kineticism and sculpture, out of
which arose his quirky performance
art and unpredictable happenings.
Nouveau Realisme (New Realism) Term coined in 1960 by the French critic Pierre Restany for
art derived partly from Dada and Surrealism,
which reacted against more abstract work, especially by using industrial and everyday objects to make
junk art or sculpture.
At the time, while I recognized in the installations in
which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor settings or orderly exhibition rooms in
art museums on the other, a common spirit with the cyber-punk-like
junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.
According to Maciunas, the aim of Fluxus was to revolutionize the creative world in order to bring about a closer integration of life and
art; a type of
art with no barriers between the genres, and
which embraced as many artistic activities as possible, from vaudeville to «found objects» and
junk art.
Indeed, Schwitters» unique and unadulterated dedication to Dada ideas, led to a prolific output of artworks constructed with urban refuse and found objects (objets trouvés)
which had a big influence on later movements like
Junk Art, Assemblage and Arte Povera.
The latter included a number of subversive ideas
which are now seen as relatively mainstream, such as the creation of
junk art from «found objects» (Duchamp's «readymades»), and the introduction of 3 - D collage (Schwitters» Merzbau).