Sentences with word «nonsite»

On the one hand, he creates a category beyond architecture or sculpture, what he and Rosalind Krauss called nonsite.

For a typical nonsite, he fashions a series of low, metal containers, more faceless and industrial than anything that David Smith, Donald Judd, or even Andrea Zittel today could ever have suggested.

How did art get from nonsites to Web sites?

These Site / NonSite works undermined the museum / gallery location even as they made the transformational actions of the artist on raw matter in its original unbounded state even more explicit.

Even when he appeared to create sculpture indoors, he was scattering remnants of the outdoors and marking off a «nonsite» with salt and mirrors.

Sites and nonsites are where the action is.

He is a participant in the Nonsite Collective and a curator for the SEGUE reading series.

That could make it the exemplar of Smithson's entropy and nonsite, as well as the ancestor of all those installations today touted and dismissed as «Undone,» «Unmonumental,» and overblown.

One can see all these exhibitions as plays within a play or, alternatively, as transpositions of studio into gallery that recall Robert Smithson and his notion of a nonsite.

One could describe it, in contrast to Smithson's poles of site and nonsite, as a refusal to disassociate inside and out.

While contemporary practices reflect the urgency of site - specific art and nonsite, then, there is simultaneously an erosion of distinctions between them.

When Manhattan Island gets an island of its own, should one call it a site, a nonsite, or gentrification?

Each, though, deals with the art world head on, with what Robert Smithson might have called a nonsite.

They relate to Smithson's concept of a nonsite, a remnant of the outdoors within a gallery, but they carry with them more of the exterior.

Imagine a nonsite by Robert Smithson pouring its contents off the wall.

Robert Smithson, A Nonsite (Pine Barrens), 1968.

One can see the debt to both sides of Robert Smithson — earthworks and nonsites that took debris from elsewhere into the gallery.

These artists» work, in which lineage I would include my own work, share an understanding of the relationship between the space of experience and the space of presentation in the terms that Robert Smithson termed «site / nonsite.»

Like Robert Smithson's «nonsites,» which Matta - Clark first encountered at Cornell, each of these floor works existed in two parts.

She also made installations for galleries («nonsites,» as her late husband Robert Smithson termed such works), as well as films and photographs, including the series Western Graveyards (1968), shot while on a trip with Smithson and Michael Heizer.

These objects — the sculpture, the nonsites, even the «Spiral Jetty» — were only a part of that process, not its primary goal.

Smithson continued to explore entropy and chaos in his dialectical series entitled Site / NonSite.

Incorporating maps, bins or mirrors with organic materials, such as rocks and earth, the nonsites create a dialectic between outdoors and indoors, ruminating on time, site, sight, nature and culture.

The first was A Nonsite, Pine Barrens, New Jersey (1968), which premiered in his solo exhibition at Dwan Gallery, New York City in 1968.

His «nonsites» were made from treks into non-urban environments.

Smithson defined the area from which organic materials were collected as the «site», while the indoor placement of the materials is the «nonsite».