Sentences with phrase «readymade objects in»

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.

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

Not exact matches

But in Jean Arp's reliefs and in Barnett Newman - and obviously in the readymade - you have this sense that the image edge and the object edge are contiguous.

«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 readymadeIn 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 readymadein 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).

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.

Helen Marten, also exhibiting in this year's Turner prize, creates intense, playful and highly detailed sculptures and installations that mix the readymade with the handmade, exploring how we build and use relationships with objects.

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.

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.

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.

In the 1950s Robert Rauschenberg used what he dubbed «combines», literally combining readymade objects such as tires or beds, painting, silk - screens, collage, and 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 in the wake of Marcel Duchamp's erotic objects and hand made readymades of the 1960s.

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.

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.

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.

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.

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.

2017, Through the Lens: Readymade / Found Object, CentralTrak Gallery, Dallas, Texas 2016, Nanjing International Art Festival, Baijia Art Museum, Nanjing, China 2016, FORMAT Photo Festival, Quad Galleries, Derby, UK 2016, PHOTO London, Lensculture Magazine, Somerset House, London, UK 2016, reGeneration 3: New Perspectives in Photography, Centrol National de las Artes, Mexico City, Mexico 2015, Sensuous World, Eastfield College, Gallery 2019, Mesquite, TX 2015, reGeneration 3: New Perspectives in Photography (in conjunction with Foto Mexico), Museo Amparo, Puebla, Mexico 2015, Destination Unknown, Talley Dunn Gallery, Dallas, TX 2015, Rendezvous, Keystone Gallery, Los Angeles, CA 2015, My Favorite Intern, Holly Johnson Gallery, Dallas, TX 2015, reGeneration 3: New Perspectives in Photography, Musee de l'Elysee, Lausanne, Switzerland 2014, Object Object!

As museums in the age of the readymade increasingly resemble cabinets of curiosities (or sometimes of banalities), the separation of fine art from every other kind of object seems less and less tenable.

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 combination of internal materials of our buildings» infrastructures and objects and images from the urban landscape develops a space for evaluation and refection of Cruzvillegas» acquired readymades contained within the spacial constructs in each piece.

I am altering most of the objects I use, so they are not readymades in the classic Duchampian sense.

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.

The show will be of «readymades», of sorts: The mass produced multiple in the form of the cuboid metal frames, and what Griffiths refers to as the «fabricated found object» in the form of the tarpaulins covering them; these being singular, touched, expressive yet understated surfaces.

My approach to composition is to photograph objects gathered in pre-existing display settings such as museums and shop windows, in other words «readymade» still life groupings, from which I can isolate an image which will often incorporate incidental reflections and chance juxtapositions of objects.

The use of found objects such as barbed wire, neon lights, or glass shards indicates the crucial role the readymade plays in his work.

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.

Andrews referred to Duchamp when she described these props as «truer» readymades, claiming, «The inclusion of readymades have become so standard in artistic practice that the question of whether or not the artist made the object is of little consequence.»

Drawing on readily - available objects utilised in daily life, Morrison's composite sculptures begin as disparate Duchampian readymades: weather balloons, bullets, mannequin busts and shopping carts, just to list a few.

Alexander Gray Associates presents Luis Camnitzer: Short Stories, featuring new work in a variety of media, including: video, printmaking, and modified readymade objects.

Titled after Marcel Duchamp's readymade of a ball of string containing a mysterious sound - making object hidden in its folds, With Hidden Noise brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes.

With Hidden Noise is an exploration of sound art that invites gallery and museum visitors to spend time listening with ears they may not know they have... Titled after Marcel Duchamp's readymade of a ball of string containing a mysterious sound - making object hidden in its folds, this Exhibition in a Box brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes.

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.

L.A. native Ry Rocklen follows in Duchamp's tradition of taking familiar objects and presenting them as readymade (often humorous) sculptures.

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.»

The artists do not aim to create an original; rather they follow in the tradition of Marcel Duchamp, who famously designated ordinary mass - produced objects as «Readymade» works of art, and Jasper Johns, who, in the late 1950s, chose to paint images «the mind already knows,» such as targets and the American flag.

IN THE CREATION of his Urinal, 1984, Robert Gober referred more explicitly to Marcel Duchamp's readymades (specifically Fountain, 1917) than any other artist now creating sculpture derived from the everyday object.

In «New Geometries,» one of Gibson's shaped canvas paintings uses the armature of an old ironing board multivalent in meaning: a readymade, shaped canvas; an homage to his grandmother who was a meticulous housekeeper; and the transformation of a domestic object into a power object — a shielIn «New Geometries,» one of Gibson's shaped canvas paintings uses the armature of an old ironing board multivalent in meaning: a readymade, shaped canvas; an homage to his grandmother who was a meticulous housekeeper; and the transformation of a domestic object into a power object — a shielin meaning: a readymade, shaped canvas; an homage to his grandmother who was a meticulous housekeeper; and the transformation of a domestic object into a power object — a shield.

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 neck.

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

The latter - who in addition to achieving considerable fame as a Cubist painter, was also an important of Junk art - impressed Gleizes with his «readymades» series of found objects.

The most famous series of «found objects» were Duchamp's «readymades», an early form of junk art, including works like: Bicycle Wheel (1913), Bottle - Rack (1914), and Fountain (1917, a urinal) both in the Musee National d'Art Moderne, Centre Georges Pompidou, Paris; and In Advance of the Broken Arm (1915, Replica in Moderna Museet, Stockholm; a regular snow shovel on which Duchamp had painted its title, together with the words «from Marcel Duchamp 1915»in the Musee National d'Art Moderne, Centre Georges Pompidou, Paris; and In Advance of the Broken Arm (1915, Replica in Moderna Museet, Stockholm; a regular snow shovel on which Duchamp had painted its title, together with the words «from Marcel Duchamp 1915»In Advance of the Broken Arm (1915, Replica in Moderna Museet, Stockholm; a regular snow shovel on which Duchamp had painted its title, together with the words «from Marcel Duchamp 1915»in Moderna Museet, Stockholm; a regular snow shovel on which Duchamp had painted its title, together with the words «from Marcel Duchamp 1915»).

During this time Duchamp began exhibiting «readymades» (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the Society of Independent Artists.