Sentences with phrase «just conceptual art»

Dada gave way to movements like Fluxus, Nouveau réalisme, Performance art and just Conceptual art in general, all thanks to the originality of the thought behind their artworks, and the unique, unprecedented way of making them.

Not exact matches

The Square, which won the top prize at Cannes, is just over two - and - a-half hours long; much of it is filmed in long, unbroken takes, and it's set in the rarefied world of Stockholm's contemporary art world with gags that demand a working knowledge of conceptual land artists.

And you can also say that a lot of the art systems we grew up around, even conceptual art or minimalism, could be just as strange a belief.

Happenings, Fluxus, Conceptual art, Performance art, Installation art and Earth Art — just to mention fart, Performance art, Installation art and Earth Art — just to mention fart, Installation art and Earth Art — just to mention fart and Earth Art — just to mention fArt — just to mention few.

Just as the Suprematist paintings anticipate most developments in abstract painting throughout the rest of the twentieth century, so these startling medleys of words and images anticipate much of subsequent conceptual art.

Painterly gesture, it turns out, can get along just fine with the rigor of late Modernism, the conceptual art of the late twentieth century, or the open - ended excess of today.

Conceptual art and painting could now be just two ways of putting on a show.

This new body of work transcends the conceptual framework laid down by previous generations, and allows the art to flow into a narrative that shares its concerns to a public yearning to be further sensitized about issues that affect us all, not just in remote localities in which they were born,» says Francesca von Habsburg, founder and chairwoman of TBA21.

Turin's Mazzoleni Art, which settled in Albermarle Street 18 months ago, is tackling the mercurial conceptual artist Piero Manzoni who died in 1963 aged just 30.

They function both as furniture and a conceptual art project that represents the idea that sitting on the same bench is about something more than just sitting.

Following on from their well received first exhibition with Ai Weiwei Blenheim Art Foundation have just announced their second exhibition which will be a new exhibition by American artist and founding figure of Conceptual Art, Lawrence Weiner.

Three years can be a long time in a trendy world, and now the shifting borders between abstraction, representation, conceptual art, and cartoons are just part of the game, as with Laura Owens.

It took me those two shots at Japan in the 1960s to get over its strangeness, to see not just gimmicks but the meeting of objects, conceptual art, and contemplation.

A German artist group (1957 — 1966) formed by Mack and Piene, Group Zero strove to redefine art following World War II and influenced minimalist and conceptual artists but was not constrained to just painters.

In his short, immoderate life Martin Kippenberger managed to test and probe just about every conceivable style of art making — conceptual, performance, painting, sculpture, collage, video, drawing, and installation.

But just a few blocks and a world away — in the East Village — a smaller but no less important community of galleries was emerging as well, a kind of conceptual and anti-commercial satellite orbiting the art world's mainstream.

Many contemporary approaches to conceptual art have become nearly synonymous with vastness, and at times just as romantic, in the sense that the experience of an idea is expected to operate on a scale of largeness, and infinitude.

Now, if the New York trip doesn't pan out next week, I'll just go luxuriate some more in the slow - cooked pleasures of Georges Braque: A Retrospective at the Museum of Fine Arts, Houston — the only U.S. venue — and the myriad conceptual riddles of Magritte: The Mystery of the Ordinary, 1926 - 1938, which the Menil Collection co-organized with the Museum of Modern Art and the Art Institute of Chicago and is supplementing with its exclusive, collection - based Memories of a Voyage: The Late Work of René Magritte.

Could something as simple as a color chart keep formalism alive — or does it just add another layer of conceptual art?

Swiss artist Urs Fischer, who is known for his melting - wax men and houses made of bread; Pakistani - born constructivist artist Rasheed Araeen; USA graffiti artist KAWS and the king of British conceptual art, Sir Michael Craig - Martin and just some of the artists represented.

BRICE MARDEN — I remember when Conceptual art came out, I said, «They're just really trying to figure out how to market it, how to make a profit.»

Born in Oklahoma but a long - time Californian identified with the Light / Space and Conceptual art movements, Joe Goode's studio is located on Palms just off Centinela.

She works internationally creating conceptual art and has just completed her installation in San Francisco.

With the covert support of America's first celebrity art collectors, Robert and Ethel Scull, he gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art market mushroomed around him.

I can't think of any show I've seen in the past five years that better evokes just how radical and exciting a period the 1960s were for British art — it's certainly better than the Tate's survey of British conceptual art, at any rate.

In a sense, conceptual art just sustains a long tradition, only in words.

This doesn't mean all art has to carry a positive reaction; a negative one can be just as powerful, but just because an artwork carries a conceptual thought or political statement does not mean that it has to negate any sensory impact or relationship with the viewer.

The current trend for the likes of Oscar Murillo and Christian Rosa, messy paintings with heavy but astonishingly superficial conceptual backstories, or the current obsession with archives, or the insipid cacophony of video art, all just drive us back to the likes of Doig.

His pictures and objects sobered up Pop, lightened up Minimalism, and made Conceptual art something other than just a thinking man's game.

The Leiber Collection is just one of the many crown jewels of the institution's holdings of this nature (Tom Marioni's Museum of Conceptual Art archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual artConceptual Art archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual art researArt archive and the Ant Farm papers among them), but this is a significant addition, one that boosts BAM / PFA to the forefront of conceptual artconceptual art researart research.

Shameless Self - Promotion is not just a response exhibition, but a conceptual art project that will be «performed» by the Gallery, artists, and the viewer.

«The New Situation» will bring these «forgotten» artists back together with their more famous peers, to recapture the excitement of the London scene and to demonstrate just how much depth there was to British art in the Sixties, from Abstraction to Pop through to Minimalism and Conceptual Aart in the Sixties, from Abstraction to Pop through to Minimalism and Conceptual ArtArt.

Perhaps there's just something inherently funny about the way a Frenchwoman says «bottom», but I suspect it's more than that: it's the gap between aesthetic aspiration (the seriousness of conceptual art) and the ridiculously pervy (making teacups with buttocks).

I just need to clarify something specifically: that blank check at the School of Visual Arts, that was a conceptual blank check!

I think with conceptual or minimal art or the period when I began to emerge, I just got put in that basket — that I was a conceptual artist because I used words and photos.

It was just basically a list, a compilation of different quotes about minimalism and conceptual art, and by year it would [say] «Carl Andre did this, [Sol] LeWitt did that, Hanne Darboven did that.»

This comes just a few weeks after winning the biggest lawsuit in conceptual art history, brought against his former partner, the Hera of performance art, Marina Abramović.

Nowadays, painting is often not what those of us who love it think of as painting, but just another form of conceptual art.

With their emphasis on process and an embrace of cutting - edge tech, many of these works could conformably fit into a present - day show of conceptual art — and it's interesting that MoMA chose to hang this show just as capital - c Conceptualism was coming into vogue.

Riedel's conceptual work is part of a larger trend within blue art lately: the idea that blue really is just blue, and nothing more.

2002 CAB Gallery Retrospective 1999 - 2001, Essor Gallery Project Space, London, UK Between Language and Form, Yale University Art Gallery, New Haven, Connecticut, US Amsterdam Revisited: Adam & Eve On Sex, Tolerance and other Dependencies, De Appel, Amsterdam, NL Reaction - A Global Response to 9/11, Exit Art, New York, US Art Aficionado Auction of Cigar Box Art, Birmingham Museum of Art, Birmingham, Alabama, US Just Remember: It's Vienna, Galerie Hubert Winter, Vienna, AT Welfare State International, London, UK Light & Shadows..., Galerie Anselm Dreher, Berlin, DE From the Observatory, Paula Cooper Gallery, New York, US Galerie Pietro Spartà, Chagny, FR Coolecção Onnasch: Aspectos da Arte Contemporânea, Museu Serralves / Museu Arte Contemporânea, Porto, PT Conceptual Art 1965 - 1975 from Dutch and Belgian Collections, Stedelijk Museum Amsterdam, NE DIN Art 4 - 560 Künstler und 1 Formular, Museum für Kommunikation, Hamburg, DE 2002 Benefit Silent Auction and Gala, White Columns, New York, US Parole, Parole, Parole, Galleria Civica di Arte Contemporanea, Trento, IT Water - Sand — Space, The International Art Exhibition: Sharjah Art Museum, UAE; Städtischen Galerie Wolfsburg, DE Private Views, London Print Studio Gallery, London, UK Collections, Stedelijk Museum, Amsterdam, NL Startkapital, K21 Kunstsmamlung Nordhein - Westfalen, DE 20 Years in Danish Art, Stalke Galleri & Galleri Kirke Sonnerup, DK The Artists» Memory, Stadtische Museen Jena, Kabinett im Stadtmuseen, DE Ideal Avalanche, The Pond, Chicago, Illinois, UK Pièes de Collection / Oeuvres Contemporaines, Une Proposition de Françoise et Jean - Philippe Billarant, Ecole Supérieure des Beaux - Arts de Nîmes, ESBAN @ Hôtel Rivet, FR Hors d'Oeuvre, Artist's Pages, Le Journal de l'art Contemporain en Bourgogne, No. 10, FR Frenetic Interferences a presentation of MEMORY / CAGE EDITIONS, Museum Store of The New Museum of Contemporary Art, New York, US Sens Giratoire Exposition Collective Peintures, Photographies, Installations PASSAGES, Centre d'Art Contemporain, Troyes, FR Ilona Ruegg, Kunsthalle Bern, Bern, CH Kunst und Schock Der 11, September und das Geheimnis des Anderen, Eine Austellung mit Bildern und Texten in Zusammenarbeit mit Lettre International, Haus am Lützoplatz, Berlin, DE Art Unlimited, Basel Art Fair, Basel, CH Les Horizons du Paysage, curated by François Montliau & Hubert Besacier, Maison de la Culture de Bourges, FR Ansammlungen von Ingrid Wald und Gerhard Jaschke («Freibord»), Sommerallerie, Unterretzbach, AT Out of Print Edição Esgotada, Museu Serralves, Museu de Art Contemporaneâ, Porto, PT De Concert, Oeuvres d'une Collection Privé, Frac des Pays de la Loire, FR What About Hegel (And You)-RRB-?

His daughter Gabrielle says in a 2014 interview that while he «came out to Berkeley just as Pop and Conceptual Art were ascending on the East Coast,» Selz turned away from these popular movements and instead «identified with the irreverence of styles like Funk art,» seeking to highlight the work of «ceramic artists like Peter Voulkos [who] were barely considered fine artists then» or Nathan Oliveira, «a figurative artist who did not follow the prevailing east coast trends.&raqArt were ascending on the East Coast,» Selz turned away from these popular movements and instead «identified with the irreverence of styles like Funk art,» seeking to highlight the work of «ceramic artists like Peter Voulkos [who] were barely considered fine artists then» or Nathan Oliveira, «a figurative artist who did not follow the prevailing east coast trends.&raqart,» seeking to highlight the work of «ceramic artists like Peter Voulkos [who] were barely considered fine artists then» or Nathan Oliveira, «a figurative artist who did not follow the prevailing east coast trends.»

Moreover, he hit the scene as a conceptual artist, just before the art world began to turn its attention back to painting.

Then came the inevitable backlash, the published lists of those neglected, the complaints about the ones chosen: that there aren't enough young and hip artists, that there is too much painting and not enough Conceptual and political art, that some artists are too well known, others are completely unknown and a few are just friends of the exhibition's curator, Klaus Kertess.

Just let the artists continue building their toy pieces of conceptual art in their funny little sand - pits, and let the media continue using their crayons to write pieces about the artists in their funny little sand - pits.

A second - generation conceptualist, Gute («I Like Conceptual Art, Conceptual Art Likes Me») has made here what he calls «Post Conceptual Decoration,» a kind of wall decoration heavily indebted to Sol LeWitt, whose work, coincidentally, is on view just down the hall, at Fraenkel Gallery.

``... Beginning in 2009 [Christopher Ho] abandoned his New York - based conceptual art practice for one year to become an abstract painter in Telluride, Colorado, a rustic mountain town with a population just over 2,000.

They require so little from contemporary art, or so it seems to me, that they are prepared to help over the admittedly modest stile to victory one artist who produces lame conceptual objects, another whose installation is like a solemn sixth - form project, a third whose composition for six opera singers has startling characteristics purely as a piece of music, and a collective of 15 architects, all highly gifted but themselves bemused by the shortlisting, given the existence of (just for instance) the Stirling prize.

The Barbara Hepworth show attracted 124,000 visitors, the Auerbach 90,000, Artist and Empire 63,740 and Conceptual Art in Britain 1964 - 1979, to which last I award the Cold Potato Prize of Least Visually Alluring Show of the decade, just 27,174.

Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (197Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (1970).