None of the artists present objects or paintings, instead, photography, video installation, wall drawing, sound, 16 mm film, and computer terminals are employed.
Still, with the show's opening a week away,
none of the artists in the biennial can be sure what long - term impact the exhibition will have on their careers.
Although none of the artists actually accepted the term «Minimalism», their common use of serial, modular or repeating forms (from Carl Andre's floor sculptures of readymade bricks or Judd's stacked boxes) as well as the abstraction and industrial production of the work, drew these artists» work together.
It's interesting that
none of the artists on this year's list completed their undergraduate degrees in London (it was Sheffield and Newcastle for Shaw and Lloyd).
None of the artists chosen were printmakers, they were identified based on a combination of factors including the style of their existing art practice and whether the content or imagery would lend itself to being developed as a print.
None of these artists do this literally but in some sense the curator James Cope has included work that evokes generative possibilities is different ways.
While much has been made of the «international» character of this year's shortlist,
with none of the artists ticking the «White British» box, all represent, in one way or another, what it means to be British today — even Andrea Buttner, who is actually German.
None of the artists included in the Salon de la Rose + Croix ever achieved true abstraction, and Péladan's traditionalist outlook deplored the kind of leftist radicalism that inspired so many of those who made 20th - century art.
Indeed,
if none of these artists offer much in the way of edge, that's because modern art lost that sense of automatic confrontation and difficulty that powered it through the 20th century a good twenty years ago.
None of these artists take on these contemporary issues directly or didactically, but rather make use of unconventional materials to produce a particular experience of the work's physical presence, or else to present surfaces that evoke the polyvalent potential of digital screens to display multiple, even conflicting, perceptual modes, both sequentially and simultaneously.
Though
apparently none of these artists are on the Simchowitz list (prices range from $ 2,500 to $ 12,000, and several of the works are sold), the show still represents a concentration of art - world interest.
They all seek a way of making a sincere and poignant abstract expression of feelings and ideas, but use various methods of distancing themselves from the myth of the lone artist pushing paint around with their heroic brush; in
fact none of these artists use a brush per se.
None of the artists who participated in the installation were paid to do so, because as Thomas said, «it's not about money.»
But
although none of these artists are shrinking violets, in this setting, the spacey effect of their individual works is reinforced by being presented in what becomes the stunning total visual work of art, the gallery site.
(Disclaimer:
None of these artists are «partners» with the book or anything.
None of the artists could convey the BET / Gangsta Rap sensibility Marvel had requested; qualities Marvel insisted were missing from T'Challa Panther.
-
none of these artists could be confused with another in the show.
Given that
none of the artist's creatures make nary a dog or seal's cry, we would be forgiven for misreading it as, «What if it balks?»
But
none of these artists, as seen here anyway, are painters.
None of these artists are content to use the camera as a straightforward observational tool.
None of the artists - Runa Islam, Mark Leckey, Goshka Macuga and Cathy Wilkes - is well known and each is tricky to compartmentalise.
As in last year's Turner prize, won by the film - maker Duncan Campbell,
none of the artists are particularly well known.
But
none of those artists were part of the original «Pictures» artists, who were brought together for a show with that name at the nonprofit Artists Space in 1977.
The important aspect of this mélange was that
none of the artists were Abstract Expressionist sculptors.
Thomas executed «Caught in the Matrix» with the help of her neighbors and friends who range in age from 15 - 75 years old,
none of them artists.
It is still, after all, intended to promote discussion about «new developments in British art», but other than the Otolith Group's dense, studious installation,
none of the artists are doing anything particularly surprising or fresh.