Sentences with phrase «readymade objects by»

Not exact matches

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.

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

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.

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.

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).

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.

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.

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.

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.

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.

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.

Chronologically, this exploration begins with Marcel Duchamp, whose invention of the readymade in 1913 gave birth to the separation of found or handmade objects from the more limited world of sculpture, usually confined to plaster, bronze, marble and occasionally carved wood that had previously represented, exclusively, in the realm of the third dimension in art.It continues through Arp, Man Ray (with an assortment of works from his New York, Paris and California periods), Dalí (represented by two works of major importance: Objet escatalogique de fonctionnement symbolique (Le soulier de Gala) and Vénus de Milo aux Tiroirs)

The object is handmade by the artist and not an industrial «readymade.»

The fiercely un-curated show blurred the boundaries between art and real life: the store, consisting of readymades and multiples, proved that the distance between artworks and everyday objects is established by the art market, and the 24/7 access suggested new forms of social interaction.

Meeting Duchamp when the Pasadena Art Museum hosted the French conceptual artist's first U.S. show, Ruscha was especially affected by his use of «readymade» objects and imagery, rendered unfamiliar through unexpected titles or text.

Key to her photography is the drama and intimacy of the close - up that highlights emotional content in specific moments, as well as capturing readymade objects «made» by forces of nature such as wind, sun, or the trampling of feet.

By simply placing the readymade object in a new context, it was transformed into art.

In her most iconic works, she utilized wooden objects that she gathered from urban debris piles to create her monumental installations - a process clearly influenced by the precedent of Marcel Duchamp's found object sculptures and «readymades.»

It is a way of transforming «When Attitudes Become Form» into a readymade, or an archeological object that is restored by putting together its different fragments.

He started making such readymades — found objects presented as art, a term coined by Duchamp himself — during his M.F.A. at Yale, with slicker objects like gold - plated basketball nets stacked vertically in reference to Donald Judd.

By Proxy includes Marcel Duchamp's assisted readymade With Hidden Noise, a ball of string with an unknown object rattling inside it; embroidery works by Alighiero Boetti; three drawings from John Cage's 1990 series River Rocks and Smoke, in which chance operations are performed by smoke settling in the fibers of the paper; Oliver Laric's Yuanmingyuan Columns, a new work created with 3D scans of Chinese cultural artifacts ensconced in Bergen, Norway; Yoko Ono's seminal chess set and war allegory Play it By Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to necBy Proxy includes Marcel Duchamp's assisted readymade With Hidden Noise, a ball of string with an unknown object rattling inside it; embroidery works by Alighiero Boetti; three drawings from John Cage's 1990 series River Rocks and Smoke, in which chance operations are performed by smoke settling in the fibers of the paper; Oliver Laric's Yuanmingyuan Columns, a new work created with 3D scans of Chinese cultural artifacts ensconced in Bergen, Norway; Yoko Ono's seminal chess set and war allegory Play it By Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to necby Alighiero Boetti; three drawings from John Cage's 1990 series River Rocks and Smoke, in which chance operations are performed by smoke settling in the fibers of the paper; Oliver Laric's Yuanmingyuan Columns, a new work created with 3D scans of Chinese cultural artifacts ensconced in Bergen, Norway; Yoko Ono's seminal chess set and war allegory Play it By Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to necby smoke settling in the fibers of the paper; Oliver Laric's Yuanmingyuan Columns, a new work created with 3D scans of Chinese cultural artifacts ensconced in Bergen, Norway; Yoko Ono's seminal chess set and war allegory Play it By Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to necBy Trust; and a work from Xu Zhen's recent Eternity series, which juxtaposes the East and West by mounting headless replicas of key Hellenistic and Buddhist sculptures neck to necby mounting headless replicas of key Hellenistic and Buddhist sculptures neck to neck.

Alone in his studio he created his first readymade by selecting and presenting a found object, Bicycle Wheel.

Duchamp distinguished his «readymades» from other «found objects» by stating that, whereas «found objects» are chosen for their interesting aesthetic qualities, «readymades» are mass - produced objects transformed into art by the artist's mere act of selection - thus no exercise of taste is required or implied.

Often working with readymade objects such as Barbie dolls, fishnet stockings, opera costumes, and wedding dresses, sculptor and installation artist E. V. Day delves into the cultural fetishism by manipulating women's fashion and undergarments.

The idea was fully developed by the experimental French artist Marcel Duchamp (1887 - 1968), who coined the term «readymades» shortly after the famous Armory Show (Spring 1913), to describe his signature style of «found object», as exemplified by his work entitled Fountain (1917), a standard porcelain urinal inscribed «R. Mutt 1917», which Duchamp submitted to the New York Society of Independent Artists exhibition (1917).

It is a way of transforming «When Attitudes Become Form» into a readymade, or an archeological object that is restored by putting together its different fragments.The new vision results from the dislocation and display in Venice, which provide further interpretation and additional meanings related not only to the history, but to our present time as well.

Duchamp, who became the darling of the radical Dada movement (founded by Tristan Tzara), created numerous challenging works such as his «readymades» series of found objects, of which the most celebrated was Fountain (1917), a standard urinal basin, which Duchamp submitted for inclusion in the annual, exhibition of the Society of Independent Artists in New York.

Expanding on Marcel Duchamp's concept of the readymade, Rauschenberg imbued new significance to such ordinary objects as a patchwork quilt or an automobile tire by combining unrelated items and incorporating them into the context of art.

Spanning sculpture, photography and installation, her work has consistently been characterised by irreverent humour and the use of everyday «readymade» objects — furniture, food, tabloid newspapers, tights, toilets, cigarettes — to conjure up sexual puns and corporeal fragments.

Elsewhere in the exhibition, Robert Gober's «dumb» piece of Plywood — a handmade object laboriously crafted to imitate a commercially available readymade — appears next to a stack of chairs by former Gober assistant Banks Violette.

Using discarded wooden objects gathered from urban debris piles, her monumental assemblages involved a process influenced by the concept of the readymades.

Huang Yong Ping interprets this famous deity through his own 100 Arms of Guan - in by placing mannequin arms holding various objects on a metal structure which is itself an enlarged version of Marcel Duchamp's 1914 readymade Bottle Rack.

What had happened was that abstract sculpture, or sculpture that wasn't based on the readymade, had set the terms by which an object could fill the space of sculpture.

Mobilizing the colorful excess Claflin encounters in her Chinatown studio surroundings, by mixing handmade and readymade objects, she invites the viewer to grasp onto certain signifiers within a disorienting context.

Fascinated by readymade objects sourced from various locations, Rana Begum builds works that play with light, colour and form.

His dynamic, large - scale sculptures improvise on the concept of the readymade by reusing everyday objects: job lots from pound shops, surplus fabrics and recycled goods, reflecting on their specific histories and aesthetics.