Sentences with phrase «time conceptual work»

It is a poetic and at the same time conceptual work.»

Judges said it had been a struggle to decide the winner, but they selected Sala on the basis of his «poetic and at the same time conceptual work».

Not exact matches

Over the years, I've developed a conceptual model and a kit of tools / strategies that I take out every time I work with a client who exhibits bad squat form.

The visual imagery is very reminiscent of Selick's previous works, and lots of time and sweat must have been expended at the conceptual level.

Since the late 1970's, Sophie Calle — «France's foremost conceptual artist» (The New York Times)-- has been making provocative and often controversial work that confronts issues in her personal life.

Develop a «less is more» content mindset: fewer standards will result in the opportunity of time needed for deeper rigor and conceptual understanding work with students.

It was a devastating time in my life, but I channeled my grief into the conceptual ideas of my work.

At a time when minimalism, abstraction and conceptual art ruled the day, Mr. Hendricks's work was profoundly out of fashion.

Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 works exhibit, Muhlenberg College, pp. 9 - 10.

In groundbreaking works from the 1970s like Mary Kelly's Post-Partum Document (1973 — 79) and Martha Rosler's Semiotics of the Kitchen (1975), the tenets of conceptual art — with its integration of language and image, its embrace of photography and the video camera, and its unfolding over time and space — are enmeshed with questions of subjectivity, the body, and indeed, emotional affect, subjects generally avoided by an earlier generation of conceptual artists.

But critics championed his work, finding his large - scale installations to be conceptual and intellectually complex, while at the same time accessible to the general public.

Unlike other artists working at the time whose work shifted gradually away from the representational, Malevich's leap into the abstract was sudden, conceptual and entirely premeditated.

Painted layer over layer over the course of time, the works contain references to traditional ink painting, modern abstraction and action painting, and contemporary conceptual and minimalist art.

Minimalism also fought Greenberg's orthodoxy at the same time as conceptual art — by rejecting the Modernist idea of painting and instead working with industrial materials — but contained the dialogue within the gallery system.

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

A conceptual artist who works in a variety of mediums, Strachan splits his time between New York City and Nassau, Bahamas.

Reviled by some at the time, that year's Whitney Biennial laid the groundwork for much of the intellectual landscape artists have explored since then because it was seen at the time as such a radical departure from previous Biennials due to the fact that the exhibited work was much more conceptual and politically charged than previous incarnations.

And they had a different point of view than the other galleries that existed at the time, and they were particularly interested in the Pictures Generation [a loose affiliation of conceptual photographers and painters who emerged in the mid-70s and appropriated media and advertising in their work], which by that time had become almost underground.

ONE - Time Pad Thomas Scheibitz's work retraces the conceptual and painterly development of his career with a particular focus on the human figure and the existence of form between figuration and abstraction.

This results in conflicting energies that appear to be incompatible with the self - image of Conceptual art and its emphasis on rationalization since the 1960's: in employing her handwriting as a medium and assembling material - informed montages, Darboven is, furthermore inserting a subjective ductus into her conceptual works, literally inscribing her own life - time, the span in which her works were written, into these: «am burgberg — heute... und keine worte mehr... und eine welt noConceptual art and its emphasis on rationalization since the 1960's: in employing her handwriting as a medium and assembling material - informed montages, Darboven is, furthermore inserting a subjective ductus into her conceptual works, literally inscribing her own life - time, the span in which her works were written, into these: «am burgberg — heute... und keine worte mehr... und eine welt noconceptual works, literally inscribing her own life - time, the span in which her works were written, into these: «am burgberg — heute... und keine worte mehr... und eine welt noch.»

The Hester Street location, formerly the home of Lu Magnus Gallery, is about three times bigger than the Eldridge Street space, and has a soaring ceiling, a big change from the two previous homes of the gallery, which focuses on conceptual work with an interest in institutional critique.

Laurent Grasso's own work, such as the series of what appear to be 16th century paintings and drawings, Studies Into the Past, uses the conceptual notion of shifting temporalities and multiple temporalities existing simultaneously to create a surreal suspension in time.

At a time when most critically - acclaimed work was either dryly conceptual or over-whelmingly expressionistic, Benglis was making work that was concerned with the body, in particular the female body, and toed the thin line between beauty and repulsion.

Her conceptual works often provide new ways to engage in a critical but humorous relationship with rationally structured systems such as time, language and units of measurement.

At a time when most critically - acclaimed work was either dryly conceptual or overwhelmingly expressionistic, Benglis was making work that was concerned with the body, in particular the female body, and toed the thin line between beauty and repulsion.

Although this project marks the first time de Neige has made autonomous AI - as - art, he believes the work is in line with his ongoing conceptual trajectory as an artist.

It is not the same as the conceptual work he was showing at the time.

A striking example of the artist's photo - realistic body of work that he began in 2005, Untitled brilliantly attests to Stingel's three - decade long pursuit of pushing the physical and conceptual limits of painting to explore the passage of time.

To truly collect and own works with variable and conceptual aspects — not just time - based media works — it is essential to consult the artist while they are still available.

Rhapsody, Bartlett's career - defining work, was first shown in 1976; Bartlett's most recent large - scale work, Recitative (2011), finds the artist still productively working through the possibilities offered by the grid, this time to create an epic exploration of color that references Minimalism and the rule - based systems of Conceptual art.

More demanding of your time and almost impossible to digest, the defining material and real meat of the show is the straight - out conceptual work, fully conveyed here through collectives.

In 2012, Zinsser's early work was presented in the exhibition Conceptual Abstraction curated by Pepe Karmel and Joachim Pissarro at Hunter College / Times Square Gallery.

Ruth Fine, curator of special projects in modern art, National Gallery of Art, and collectors Dorothy and Herbert Vogel Dorothy and Herbert Vogel have amassed one of the greatest collections of minimal, conceptual, and post-minimal art in the world, acquiring works by some of the most important contemporary artists of our time.

In past work Lane has at times explored the terrain between conceptual practice and demystification...

Zhang's interest in the conceptual side of the Time Chapter works is emphasized when one looks at the reflecting pool in front of the altered building.

1995 Cotter, Holland, Beneath the Barrage, The Modern's Little Show, The New York Times, April 7, p. C27 Hainley, Bruce Next to Nothing: The Art of Tom Friedman, Artforum, November, pp. 4 - 5, pp. 73 - 77 Kastner, Jeffrey, lo - fo, Frieze, September / October, pp. 72 - 73 Kim Levin, Choices, The Village Voice, May 2, p. 11 Mitchell, Charles Dee, «Critical Mass»: More Than Meets the Eye, Dallas Morning News, February 3 Narbutas, Siaurys, Modernus Menas Padeda Atlaidziau Zvelgti I Pasauli, Lietuvos Rytui, August Rich, Charles, At MoMA: A «Mad» Muse, The Hartford Courant, April 1 Schjeldahl, Peter, Struggle and Flight, The Village Voice, April 18, p. 79 1994 Connors, Thomas, Evanston Art Center, New Art Examiner, May Green, David, Doors of Perception, Burelle's, May, p. 18, p. 23 Mollica, Franco, Tema Celeste, Autumn, p. 64 Perretta, Gabriele, Flash Art (Italian edition), Summer Romano, Gianni, Tom Friedman, Zoom, no. 12 Romano, Gianni, In and Out Liquid Architectures (Through a Few Objects, Temporale, no. 31, pp. 34 - 37 Romano, Gianni, Interactive Child, Arquebuse, May, pp. 24 - 25 Tager, Alisa, Emerging Master of Metamorphosis, The Los Angeles Times, May 3, p. F1, p. F8 Trione, Vincenzo, De Soto, Ulisside del Bello, Il Mattino, May 27 1993 Artner, Alan, Sharp Conceptual Show Dares to be Different, The Chicago Tribune, January 22, section 7, p. 56 Auer, James, There's No More Than a Hairbreath Between Art, Reality in This Exhibit, Milwaukee Journal, January 17 Blair, Dike, review, Flash Art, November / December, pp. 112 - 114 Flynn, Patrick J.B. review, Hair, Artpaper, February Heartney, Eleanor, New York, Dans les Galeries, Art Press, October, pp. 24 - 28 Humphrey, David, New York Fax, Art issues, May / June, pp. 32 - 33 Levin, Kim, Choices, The Village Voice, February 23, p. 65 Lillington, David, Times, Time Out, June 16 Lillington, David, Times, Metropolis M, Winter, pp. 47 - 49 Nesbitt, Lois, Artforum, Summer, pp. 111 - 112 Paine, Janice T. Hair Pieces: Exhibition Worth Combing, Mikwaukee Sentinel, January 8, p. 8D Shepley, Carol Ferring, Tom Friedman Shapes Art Out of Everyday Things, St. Louis Post - Dispatch, January 14, p. 3E Southworth, Linda, An Extraordinary Exhibition at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 102

These two works attempt to give form to the construct of time as well as the conceptual space where meaning is created.

At the same time, The New Barbarians is tinged with the conceptual subversiveness that the yBas deliberately exploited: by transplanting their own faces onto the work, the couple align their practice and artistic personae with grandiose narratives of creation and evolution.

The ontological practice seemed to assert: «Here I am, at this time and place» - much like the work of conceptual artist On Kawara, who made this textual declaration in postcards decades before.

Artists from the 50s and 60s who moved to the UK from the commonwealth, conceptual artists who considered themselves «stateless» global citizens rather than tied any one place, and groups such as the Black Audio Film Collective, whose work sought to unearth the possibilities of being both «Black» and «British» in the 1980s, will show how British art has, directly or indirectly, come to reflect a much wider international stage over time.

What can be defined as conceptual art at its best, the artist's often times participatory and always haunting works once again caught the New York audience with surprise and contemplation.

at the recently refurbished einsatzleitung, we will show a selection of works by dutch conceptual artist and four time documenta participant stanley brouwn.

Indeed, the collection can be viewed as a lived archive of the world in which LeWitt moved and worked, even as it examines the possibilities for conceptual art across media, disciplines, and time periods.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

The exhibition at the Walther Collection, which took place from the beginning of May 2015 until the fall of 2016, investigated the production and use of serial portraiture, conceptual structures, vernacular imagery, and time - based performance in photography from the 1880s to the present, bringing together works from international artists.

In an incredibly short time the young Danish artist, Danh Vo, has gained great global recognition with his work, which is at once conceptual and poetic.

The conceptual underpinnings of Rockburne's work draw from the world of thought and investigation, from the vision of artists like Leonardo da Vinci who struggled in their own times to hone the clearest understanding of the forces that determine our universe.

This site - specific work consists of projections on Toshiba Vision, the iconic large screens in Times Square, as well as a conceptual installation installed inside 1500 Broadway, functioning as an «echo chamber» for the projections in Times Square.

Dorothy and Herbert Vogel have amassed one of the greatest collections of minimal, conceptual, and post-minimal art in the world, acquiring works by some of the most important contemporary artists of our time, including Christo and Jeanne - Claude, Sol LeWitt, Richard Tuttle, and Pat Steir.

Often referred to as a conceptual landscape painter, Finch plays with atmospheric effects and ephemeral notions such as time in his works to examine the ways in which we perceive the outside world.