In conjunction with a catalogue featuring essays by Szakacs, Michael Darling, Hans Ulrich Obrist, Philippe Van Cauteren, Jeffrey Weiss, and John C. Welchman, this retrospective promises to fill a gaping, Jackson - size hole in the history of painting as
a radical conceptual practice.
Not exact matches
In an era where NCATE standards are narrowing teacher education to mechanistic dispositions and have eliminated the social justice language from its
conceptual framework, this group will come together to share how teacher educators can navigate the space within
radical teaching
practices that promote social justice in the world of NCATE requirements.
Yves Klein (1928 — 1962), was a
conceptual artist par excellence, a
radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely more: a believer living in his own sense of the divine», whose diverse
practice included ephemeral works in his quest for immateriality.
The development of a
conceptual approach to painting in his late work was a
radical evolution in Tworkov's
practice.
The unprecedented survey demonstrates how 29 Japanese artists and photographers enlisted the camera to make experimental and
conceptual shifts in their artistic
practices during a time of
radical societal change.
Known for his founding role in the
Conceptual Art movement in the 1960's, his
radical art
practice continues to challenge the cultural status quo by exploring propositions about our relationships to objects and places.
While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to
Conceptual Art to the blanketed arena of contemporary art
practice, in
Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone
practice.
The ideas of «
Conceptual Art» introduced by Sol LeWitt in the1960s sought to set art free from the shackles of formalism, and his
radical practice had a profound and widespread influence on the artists of his generation and beyond.
Providing a critical history beginning with Fluxus and
Conceptual art in the early 1960s through present - day
practices,
Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.
As a result, the works in
Radical Women defy not only the invisibility of female artists throughout region, but disrupt existing scholarly and curatorial narrations of late modern and early
conceptual art
practices across Latin America's different avant - garde movements.
Like many of his
radical 1960's contemporaries, Douglas Huebler's
conceptual art
practice celebrated the dematerialization of form in favor of ideas and concepts.
Providing a critical history beginning with Fluxus and
Conceptual art in the early 1960s through present - day
practices,
Radical Presence: Black Performance in Contemporary Art chronicles the emergence and development of black performance art over three generations, presenting a rich and complex look at this important facet of contemporary art.