Sentences with phrase «of readymade objects»

With more than 6,000 works on display, ranging from the 1970s to the present (including sculptures, neons, photos, paintings, videos, performances, computer - based projects and a selection of readymade objects from Milanese scientific museums), it seems Mullican has at least attempted the feat in the gargantuan space of HangarBicocca.

Arranged with minimal simplicity, Steinbach's seemingly random assortment of readymade objects forms part of his ongoing enquiry into the ways in which meaning is structured and modified.

In the midst of working on his two - part installation for the show, Olaf takes the time to explain his inspiration and thinking behind his mini army made of readymade objects and a recreation of a 1932 photograph.

New York - based artist became known for her creative use of readymade objects.

Jonathan Owen's work involves the systematic transformation of readymade objects and images.

Not exact matches

if I wasn't looking at some of the objects [that MoMA] was displaying and thinking: Well, how can I contribute something to the idea of the readymade?»

The idea of the readymade is an outside object, outside the body.

«In her most recent work, Genzken confronts one of the prime calamities of sculpture in the present: a terror that emerges from both the universal equivalence and exchangeability of all objects and materials and the simultaneous impossibility of imbuing any transgressive definition of sculpture with priorities or criteria of selection, of choice, let alone judgment (be it artisanal skills, choice of objects or materials, or the analytical intelligence to identify the specific structure of a contextualized readymade).

By fusing the convention of the readymade or found objects with the exploration of visceral material, his work captures a tension between order and disarray ¬ — chaos gradually rising into a solid coherent mass.

The use of common objects in his work as seen in Garage Renovation (Cherry Makita), whether they be fire extinguishers, pieces of cardboard or sheets of kitchen foil, comes out of the Duchampian lineage of the readymade.

He explores the various myths and narratives about our creation and how we came to inhabit the earth through the use of the readymade and manmade products placed to mimic the digestive process; the work exists as a continuum with the different objects and materials interacting, forming a narrative.

Consisting of an installation of surgical equipment dispatched directly from gallery to conflict zone, the work oscillates from «readymade» artwork to potentially lifesaving, functional object.

Like Duchamp with his readymades, Chamberlain wanted to intervene on the perceived functions of objects, and, by changing our perceptions, reveal something new.

Cole's work is generally discussed in the context of postmodern eclecticism, combining references and appropriation ranging from African and African American imagery, to Dada's readymades and Surrealism's transformed objects, and icons of American pop culture or African and Asian masks, into highly original and witty assemblages.

She is rewriting the canon as she creates it, seeking to observe the temporary transformations of «thing to art object, from collective to readymade.»

The first exhibition in its new space will be «Readymades Belong to Everyone,» a survey of artists positioning objects within architectural spaces curated by Fredi Fischli and Niels Olsen.

Nouveau réalistes made extensive use of collage and assemblage, using real objects incorporated directly into the work and acknowledging a debt to the readymades of Marcel Duchamp.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture.

The artist first encountered these unadorned objects as found or readymade works of art at his local Walgreens pharmacy, where he noted: «Half of the store seems dedicated to catalysing chronic bodily decay, and the other half seems dedicated to the fallout.»

Marcel Duchamp's notorious «readymade» Fountain from 1917, which consisted of a standard urinal signed «R Mutt», went further by changing the way an everyday object was experienced and used, while testing the meanings, values and beliefs associated with art.

From the appropriation of her stationary namesake, Claire Fontaine has utilised a vast number of found and readymade objects in the quest to create work.

Although he saw Rauschenberg's Combines as a «preliminaries» to his own work and regarded their object - like dimensionality and inclusion of found objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.objects as «radical,» Donald Judd could only see Rauschenberg's continued interest in painting as «conservative» and too closely tied to traditional representation.6 From Judd's perspective, Rauschenberg failed to understand fully the monochrome's pronouncement of the end of painting — an end that, when read in conjunction with Marcel Duchamp's readymade, authorized the move from painting to the three - dimensional realm of «Specific Objects.Objects.»

For these works, the artist works with the classical figure in the manner of a traditional sculptor yet drastically deconstructs and contorts each shape, inserting unexpected readymade objects to further the abstraction.

Although the use of banal objects draws inspiration from the readymades of Marcel Duchamp, the improvisatory gestures employed in applying both paint and object to Collection owe much to the generation of «action» painters to which Still and de Kooning belonged.

The sculptor Carol Bove likes to play with associations and forms as she builds her assemblages of constructed and readymade objects.

An ongoing fascination with the key issues of modern sculpture, from the readymade to the specific object, today drives many artists to return to those issues again and again, with fresh and often surprising results.

Duchamp, who was on the Society's board, tested the limits of the organization's guidelines by anonymously submitting what would become his most famous readymade (an ordinary manufactured object that he designated as a work of art).

While the elevation of the mundane to the status of art object has occurred since Marcel Duchamp, Manders's sculptures are not mere readymades.

But whereas Duchamp's readymades, such as his famous urinal, questioned the artwork's privileged status as a handmade object, the new generation places art within the context of capitalist economy.

From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture, which examined sculpture in the wake of Marcel Duchamp's erotic objects and hand made readymades of the 1960s.

Taking readymade materials — a nod to Duchamp's Dadaist sensibilities — he pierces through the skin of these photographs with mirrors, arrows, and other objects, forming what he calls «photo - sculptures.»

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture which examined sculpture produced in the wake of Marcel Duchamp's erotic objects and hand made readymades of the 1960s.

Taking note from Marcel Duchamp, who first utilized the found object as readymade, Broodthaers reworked its implementation and used groups of objects and even entire exhibitions as readymades, as in Section des Figures (1972), installed by his «fake» art museum referenced above.

Lee Kit Portrait of a boy (detail) Emulsion paint, pencil and inkjet on drawing paper readymade objects, 2 plastic boxes, looped projection Dimensions variable, Projection size: 100 x 151 cm, 16:9 Drawing size: 23.3 x 17.3 cm 2015

As Marepe often uses readymade materials, as well as everyday objects or activities, his work has acquired a complex layering of references and meanings addressing the linkage between the individual and society.

Beat Zoderer, who both, radically reworks readymade materials, often transforming everyday objects from a wide range of cultures into startling works of art is at the same time a sensitive and spectacular sculptor in the more formal sense.

In Brian Griffiths» work traditional genres of sculpture are re-thought through the assisted readymade or the fabricated found object.

Both of these are white canvases that are also sculptural objects, and the Cattelan has a sort of humor to it, but it also references so much art history — propping pieces by Richard Serra, readymade works by Duchamp; you name it — so there's this very subtle, humorous gesture on Cattelan's part.

Perhaps this way of working has something in common with the readymade: the artist lets someone else — it doesn't matter who — do the work of making the object, and the real work lies in observing the thing and deciding whether it's any good» (G. Richter, quoted in «Interview with Jonas Storsve, 1991» in D. Elgar and H - U.

In the early 1980s, Weiwei moved to New York where he got influenced by pop art and started creating conceptual artworks made of altered readymade objects that brought him worldwide exposure.

While Duchamp's readymades of the early 20th century took the industrially - produced object out of circulation, by the end of the century the readymade as «commodity sculpture» had fully entered another system of circulation: the art market.

For Wang, the readymade includes not only the object of mass consumption, but those systems of which it is a part: brand ownership, exchange value, and corporate finance.

The Fountain was the first example of what's now called «the readymade»: an ordinary object that becomes art merely due to its context; otherwise it's just an ordinary object.

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

The term assemblage typically denotes work constructed from found objects that have been manipulated or recombined, but Bender's approach to assemblage blurs into a Duchampian presentation of readymades.

Taken out of its original context, reimagined, and signed by the artist, the readymade upended tradition and artistic convention — transforming an everyday, ordinary object by virtue of the artist selecting it.

Taking this idea one step further, Duchamp's readymades invented a new category of artworks composed entirely out of manufactured, pre-made objects that stood on their own as autonomous works of art.

But if you're able to snag a few moments at these stations, you'll see the objects on view in the aesthetic and cultural context of significant artworks, monuments, and movements: Marcel Duchamp's 1913 readymade Roue de bicyclette [Bicycle Wheel]; the Crystal Palace at the 1851 World's Fair; Pop Art's embrace of mass - media messaging.

In recent decades, artists have continued to explore ways of incorporating readymade objects into their work, including through a strain of the approach that takes off directly from the fetishization of consumer goods.