Sentences with phrase «make conceptual paintings»

Jillian Kay Ross doesn't make conceptual paintings.

Not exact matches

Disc 7 - Jurassic Park - Return to Jurassic Park: Dawn of a New Era - Return to Jurassic Park: Making Prehistory - Return to Jurassic Park: The Next Step in Evolution - The Making of Jurassic Park - Original Featurette on the Making of the Film - Steven Spielberg Directs Jurassic Park - Hurricane in Kauai - Early Pre-Production Meetings - Location Scouting - Phil Tippett Animatics: Raptors in the Kitchen - Animatics: T - Rex Attack - ILM and Jurassic Park: Before and After the Visual Effects - Foley Artists - Storyboards - Production Archives: Photographs, Design Sketches and Conceptual Paintings - Jurassic Park: Making the Game - Theatrical Trailer - BD - Live - My Scenes - D - BOX - Pocket BLU App

And Elaine Sturtevant, a few months after Warhol created his first flower paintings in 1964, borrowed Warhol's silkscreens to replicate those paintings and inserted her renditions into group shows — along with her George Segal and Frank Stella look - alikes — to make Pop into something more conceptual, a decade or more before the word «appropriation» would emerge.

Made from the crushed bedrock of Barcelona, Berlin, Hong Kong, London, Milan, New York, and Paris, Wang's monochrome paintings represent a representation of urban geography, occupying a liminal space between Land and Conceptual art.

He managed to invent pop art, conceptual art and minimalism all in one go when he started to make an American flag out of waxy paint layered over newspaper collage in 1954 and has been meditating with the same serious irony about objects and their meanings ever since.

The New York - based conceptual artist makes work that engages with unique methods, such as his large paintings and site - specific installations using silver nitrate.

His work incorporated traditions of conceptual art, minimalism and monochrome painting but made its own internal logic its primary reference point while strenuously resisting a reduction to any single style.

But at the time, nobody talked much about the complexities of Salle's art — mostly they talked about the fact that, following a decade of minimal and conceptual art, artists were again making paintings and money.

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.

Selected new exhibitions feature contemporary abstraction, narrative installation, figurative paintings and conceptual print making.

For a cheeky group show «With friends like you...» — a subtle dig at the Cuban art Establishment — Aquiles covered the façade of their home in a Technicolor cladding of cans while six other artists took over the inside with process - based paintings made with human breath, conceptual sculptures hewn from business cards and palettes, and a sculptural installation by the couple's 17 - year - old son, Bastian Silvestre, that comments on the police - related shootings in the U.S..

The most obvious comment made by Young's series is the reinvention of action painting (the title Greeting Card comes from a 1944 Jackson Pollock painting) and the continuation of abstraction through conceptual means long after the end - game conclusions of formalism.

Beyond the conceptual aspects of their construction, the paintings themselves have a visceral and physical vitality that makes viewing them an unfolding and hypnotic experience.

The edition relates to a series of works by Zhao, titled A Painting of Thought, which layer thick acrylic paint on fabric in an attempt to de-construct rational logic and to make viewers wary of conceptual habits.

It includes small - scale paintings by «other art» artists of various trends, key pictures and objects by masters who make up the nucleus of the «Moscow conceptual school», works by classics of Sots - Art, Post-Modernist painting and photo - realism, as well as works by leading figures of the post-Soviet period.

Also, we had Leon Golub, who did his large, partially untreated canvases, and then we went from Arnulf Rainer to [Gérard] Gasiorowski, to Raoul De Keyser, who was then still alive and making these amazing abstract paintings, to Robert Ryman, to Malcolm Morley — from conceptual to abstract to figurative — to On Kawara, to Gerhard Richter, who reunites all these dimensions, to Dick Bengtsson, a tricky forgotten Swedish artist who died young, to Ed Ruscha, to Niele Toroni.

Simultaneously materialist and conceptual, abstract and figurative, textual and painterly, Hollingsworth makes us question the étre of painting in the way Donald Judd did with the object.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

The democratization of aesthetic judgement is reflected in a 1994 project of the Russian - born conceptual artists Vitaly Komar and Alexander Melamid in which they enlisted a poll service in several countries to widely survey the public about that characteristics that would make the best painting and the worst painting.

This exhibition explores the making of painting as well as the conceptual underpinnings of the artist's narrative.

Mr. Sharif was best known as a Conceptual artist, but his command of color is on full view in a large - scale work made with pieces of painted cotton rope, titled simply «Colours» (2016).

The paintings» conceptual makings and process, however, tell another story.

The two pieces by Julie Torres are both conceptual works about capital - p Painting: «Room with a View» is a small canvas on which super-thick layers of acrylic paint make something that appears, all at once, like a window, a picture inset into photo corners, the back of a stretched canvas.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, LucPainting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Lucpainting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Like Gerhard Richter, however, Johns makes conceptual art and painting impossible to disentangle.

[14] His paintings embrace a number of formal and conceptual oppositions, echoed in Tuymans's own explanation that «sickness should appear in the way the painting is made,» yet in «caressing the painting» there is also pleasure in its making.

This kind of interest in the language and meaning of image making found resonance in Australian art, particularly in the 1970s and 1980s, as the dominance of expressionist painting began to wane and a more conceptual, playful and ironic postmodern art emerged.

During that seminal period, Rauschenberg established an ongoing interest in grasping the full range of art - making mediums, including printmaking, painting, photography, drawing, sculpture, and conceptual modes, often blurring categorical distinctions by using multiple techniques and materials in combination.

«What the galleries considered cutting edge was all conceptual — painting about painting, art that said something about the way it is made.

Make America Great Again marks a departure from Erizku's photographic work, bringing together new sculptures and paintings as well as a «conceptual mix - tape» produced specifically for the exhibition.

These factors serve as an anchor for L» Origine du Monde # 1 (1992) securing it to four separate events in art history: Dutch Golden Age painting (1665), Early Modernism (1866), Surrealism (1929), and Photorealism (1969), making it resistant to the older generation of artists and their pursuit of a singular style such as Pop art, Op art, Conceptual art and Minimalism.

Pure abstraction suffers from its association to «Zombie Formalism,» what the painter and critic Walter Robinson called abstraction made to feed the market, while the bulk of contemporary figurative painting does little more than illustrate the conceptual and / or political leanings of the artist.

Citing inspiration from the post-minimal style of Richard Tuttle, the arte povera movement and Robert Rauschenberg's combine paintings, the artist's unique pieces incorporate ready - mades, and conceptual objecthood, testing the traditional boundaries of form and physicality.

The quiet eruption of photography into the best painting of the 20th century's final decades created an opening for painting to adapt other mediums into itself, a vice versa of the moves made by Conceptual art.

A co-founder of the Stuckism art movement with Charles Thomson in 1999, Childish promotes figurative painting as opposed to conceptual art, and a quest for making art a part of personal discovery.

Before conceptual art, art was made of traditional materials, paint, canvas, bronze, marble, and more.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

«Not only is he conceptual; he's also incredibly politically engaged — making paintings with rope, his passion for elements,» Ms. Lévy said.

A founder of both the Minimalist and Conceptual Art movements, LeWitt made sculptures, paintings, drawings, prints, and large - scale installations.

From 1991, Stingel began making «carpets» with which he often covers entire spaces, including walls: it is a non-painting that crosses the limit — also conceptual - of what a painting is, and becomes an environment.

She believed the scale and energy of Ofili's paintings made him a natural choice, but to offset his work's bacchanalian life force, she opted for the very precise sensibility of sculptor Conrad Shawcross, and a wild card in the form of the reliably unpredictable conceptual artist Mark Wallinger.

For this show LA artists will be invited to either work outside their comfort zones and explore our landscape with traditional painting / drawing or to make more conceptual / political work pointing towards the numerous ecological issues facing our city.

Baldessari, 84, was cited on Thursday by the NEA for his «ambitious work [that] combines photography, painting and text to push the boundaries of image, making him one of the most influential conceptual artists of our time.»

Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.

Lasker made use of the art world's conceptual turn in the 1980's, engaging in new possibilities of painting, and so developing the abstract formal idiom that has come to characterise his oeuvre.

Accompanying these compositions, the upstairs gallery features approximately forty drawings made between 1976 to the present that echo the formal and conceptual range of the paintings in the downstairs gallery.

For her 2003 solo exhibition «Blank», she made a conceptual link between a flock of black sheep constructed from fake fur and Pierneef - inspired paintings by using wool to turn the latter into tapestries.

Along with the more traditional mediums of painting, photography, drawing, sculpture, conceptual, video and performance art we also encourage the submission of sound, text, spoken word, dance, comedy, cooking, large scale painting... As a new century begins and the last still informs every move we make an anxiety of where we are takes many forms from the personal to the political.

Sir Nicholas Serota Makes an Acquisitions Decision is one of the best known paintings to come out of the Stuckism art movement, [1][2] and a likely «signature piece» for the movement, [3] standing for its opposition to conceptual art.

Like his conceptual art contemporaries including Sol LeWitt, Eva Hesse, and Donald Judd, Purifoy made works that are sculptural but also relate to painting, as many are wall - hung and others still contained within rectangular «frames.»