Sentences with phrase «perceive conceptual art»

Not exact matches

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»).

Since the rise of conceptual art in the 20th century, painters have been perceived to be stupid.

Invented in secret in the privacy of Oiticica's New York loft in the early 1970s, they were not shown as works of art until 1992, twelve years after Oiticica's death, when the first and third in the series — CC1 Trashiscapes and CC3 Maileryn — were exhibited as part of the first traveling retrospective of the artist's work.3 Prior to that exhibition, Oiticica's New York sojourn was little analyzed due to the perceived paucity of his artistic production between the years 1970 and 1978.4 The 1992 presentation of the Cosmococas was revelatory in this regard: not only did these quasi-cinemas demonstrate the continuity and conceptual elaboration of key aesthetic concerns within Oiticica's work (the vertiginous passage from painterly to narcotic «pigment» in service of the sensorial is surely the most striking of these animating threads), they indicated the artist's pointed engagement with the avant - garde artistic culture of New York.

There is an implicit populism to the exhibition, a trumpeting of each artist's outsider status, or at least a sense of frustration with the art world's perceived exclusivity, but a great deal of the work hinges on the viewer's ability to pick up on insider - only references, exacerbated by the exhibition's lack of sufficient explanatory texts for conceptual projects.

Michael Max Asher (July 15, 1943 — October 15, 2012) was a conceptual artist, described by The New York Times as «among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive aconceptual artist, described by The New York Times as «among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive aConceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art.&raqArt phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art.&raqart.»

An early explorer and originator of Conceptual art, Robert Barry has been making artwork that probes absence, or what we perceive to be absence.

Marioni, founder of San Francisco's Museum of Conceptual Art, produces objects and scenarios that expose and expand the perceived boundaries of art objects and cultural institutioArt, produces objects and scenarios that expose and expand the perceived boundaries of art objects and cultural institutioart objects and cultural institutions.