Sentences with phrase «readymade artist»

If you are looking for some ideas, there are plenty of readymade artist resume templates online.

Claire Fontaine is currently working with les Editions La Fabrique, Paris, to prepare a book about the readymade artist and the idea of the «human strike,» or aggressive silences and the halting of human production, a concept drawn from 1970s Italian feminism.

After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a «readymade artist.»

Conceived in 2004 as a «readymade artist,» the Paris - based collective Claire Fontaine presents itself as a fictional artist in an ongoing conceptual project critiquing the art market.

Not exact matches

Both tokenized as a Native American artist and marginalized because of his race, Durham makes work about racism, the history of the readymade, and discrimination, and... Read More

By linking the Minimalist sculptures of artists like Donald Judd to the Russian supremacist paintings of Kasimir Malevich and readymades of Duchamp, she extends the determinist history that formalism relies on into sculpture and movements beyond abstract expressionism.

(2018) is a readymade S7 computer that the artist has manipulated to noisily mine cryptocurrency from the internet, procuring money that will be donated to the nonprofit Bronx Freedom bail fund.

The primary clinch of this achievement is Stockholder's sensibility, which permeates all of the chosen works and follows a set of necessary prescriptions: the form must in some way be related to the readymade; the formal palette of the work must be intentional (either works are steadfastly the natural color of the material, or the artists» chosen colors directly relate to the concept of the piece); and above all the approach must be inventive, but avoid novelty.

David Buckland (detail) Internal Combustion, Readymade 21 DB, 2012 Steel, cast iron, aluminum, electronics, plastics, filters, oil, brass and control systems 108 x 26 x 66 inches Engineered by Robert Nin Steelwork by Justin Rossi Courtesy of the artist Commissioned by Ballroom Marfa Photography © Fredrik Nilsen

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.

He is an artist of alchemy and the uncontrollable, using eclectic materials including detergent, disinfectant, perfume and other chemical solutions, to crystallize and transform the readymade, used as an explicit point of departure.

She has produced over fifty exhibitions of Canadian and international artists, most recently «Rural Readymade» (2011), «Krimiseries» (2010), «Dig Up My Heart: Artistic Practice in the Field» (2010), «Formerly Exit Five: Portable Monuments to Recent History» (2010).

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.»

A self - conscious commentary on the significance of an artist's biographical background, the work also presents a nod to modernism — the crates double as pedestals while the donuts stand in for sculptures — and the use of the «readymade.»

The exhibition looks at the shifting moment in twentieth - century art, when a group of artists began to perceive colour as «readymade» rather than as scientific or expressive.

«Throughout his career, he has pioneered new approaches to the readymade, tested the boundaries between advanced art and mass culture, challenged the limits of industrial fabrication, and transformed the relationship of artists to the cult of celebrity and the global market,» the Whitney notes in describing the Koons exhibit.

As Thierry de Duve has shown, much of Duchamp's work — including his abandonment of painting — followed from the recognition that the can or tube of paint had long been a readymade, industrially produced commodity like any other.10 As Duchamp remarked in 1961, specifically addressing Rauschenberg among others: «Since the tubes of paint used by the artist are manufactured and readymade products, we must conclude that all the paintings in the world are «Readymades aided» — and also works of assemblage.»

We took a look at a few of the ways artists today have picked up Duchamp's readymade, plugged it into the Internet, and gone off blazing in new directions.

These works recall and effectively extend the notion of the artist as creator of ideas, a concept first broached by Marcel Duchamp (1887 — 1968) with his iconic readymades of the early twentieth century.

The Brooklyn - based sculptor and installation artist Rachel Harrison is one of the few artists working today able to integrate the seismic 20th - century artistic innovations (think appropriation, readymades, and a general post-medium approach) into her work in a way that moves these gestures beyond winking conceptualism and into the realm of formal elegance.

Purchase on Amazon.com March 2 — May 12, 2008 Color Chart celebrates a paradox: the lush beauty that results when contemporary artists assign color decisions to chance, readymade source, or arbitrary system.

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.

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.

As Duchamp's original readymade Fountain was lost (or destroyed) soon after the Society of Independent Artists exhibition, the Stieglitz photograph is the only known photographic record of this work.

For her, like many artists of her generation, everything is a readymade.

At the center of the show is the work of artist Nancy Shaver, whose readymade art displayed in an antique store in Hudson, New York, confuse high and low, craft and fine art.

There were 37 young artists involved, split into 12 groups, exhibiting everything from optical art to readymades.

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.

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.

Made from broken ceramic pieces and readymades, this series of small, brightly - colored assemblages contain anything that crosses the artist's path — from pom - poms and bungie cords, to bike baskets and plastic balls.

The original Bottlerack was an unassisted readymade, meaning that it was not altered physically by the artist.

The subsequent exhibition, Second Hand, opening April 21, presents the artist's ongoing series of amended readymade paintings.

These artists» works offer us unique opportunities to address the contemporary legacy of the readymade.

Like many artists in the second half of the 20th century, Steinbach took his cue from Marcel Duchamp's famous readymades: commonplace appliances like the famous urinal, Fountain, which with a swift change of venue and title, Duchamp elevated to art.

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.

Subodh Gupta, one of the best - known Indian contemporary artists and master of readymade, is represented this year in Monnaie de Paris with his first personal exhibition in France.

The four emerging and established artists that dot the globe for «Voluntary Sculptures,» relish the discarded and everyday, building upon traditions from 16th century still life painting to Dada and the readymade.

is a speculative proposition that considers how artists are using and making readymades today and how we can learn something from them about a contemporary state of being.

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

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.

culls together different, even unexpected, approaches to the readymade to insist upon its relevance as a method, practice, and approach for artists today.

Buren similarly found a way around the artist's traditional, heroic confrontation with the blank canvas, choosing readymade fabrics as his supports and developing rigorous conceptual systems to guide his practice.

To mark the centenary of Duchamp's first readymade, What Marcel Duchamp Taught Me, the ambitious group show at the Fine Art Society on New Bond Street, London, seeks to establish his wide - ranging influence on contemporary artists.

Duchamp's Fountain of 1917 is the artist's — and perhaps the world's — most famous readymade sculpture.

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.

Marcel Duchamp is usually credited as inventing the readymade, but the essential idea of taking something preexisting and elevating it into art did exist before he created his first one (a bicycle wheel atop a kitchen stool) in 1913: in Pablo Picasso's Still Life With Chair Caning from 1912, for example, the artist collaged a piece of woven chair backing onto a two - dimensional canvas, and before that Degas clothed his Little Dancer of Fourteen Years (1881) in a real tutu.

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.

Emphasizing his understudied contributions to the medium of sculpture, the exhibition traces three decades of the artist's readymades, monuments, and sculpture, restaging iconic as well as lesser - known series by the artist.

Many of Duchamp's earliest and most provocative readymades were destroyed or otherwise misplaced; from 1964, the artist worked with Arturo Schwarz to produce fourteen editioned sculptures, which comprise the exhibition.

Throughout Know Yourself, banality unifies dissimilar works that range from found images to recontextualized readymades, acting as a point of entry for more substantial discourse about authenticity, ownership of art objects, and the complex identities of artists.