Sentences with phrase «understood as a conceptual artist»

Not exact matches

Both exhibitions subscribe to a broadened conceptually - geared view of drawing: drawing is not understood as a secondary medium to the work of the artists a mere preparatory sketch, but as hierarchically equal and autonomous media within which the conceptual and creative basis of an artistic position is articulated.

Given Rauschenberg's known lack of financial resources in the 1950s and his propensity for reusing canvases, it is likely that the White Paintings began to be remade and repainted almost immediately after their completion in fall 1951, a fact that testifies to the artist's understanding of these works as primarily conceptual rather than material.

The conceptual nature of the Impressionism movement and how it passed on to influence the Post-Impressionism artists is seen as one of the major shifts in regard to the understanding of the painting, its compositional rules and how one should break them, and it offered a new understanding towards the subject matter and what is considered important enough to be painted.

EXILE presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generational and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

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.

Frederic Tuten I understand that you started as a conceptual artist.

Exile presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generatioal and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

Sehgal's interpretations of the dance aesthetics of twenty of the greatest choreographers of the modern era, including Pina Bausch, Trisha Brown, Merce Cunningham, Isadora Duncan, Martha Graham, Yvonne Rainer, and Le Roy, represented for the artist a transformation from his past experience in choreographing a single, discrete piece into what might be understood as a conceptual artwork - exhibition of collected performances — in his words, «a museum of dance» 2 incarnate.

Because Singer was trained in sculpture rather than architecture, design, or even painting, this can be understood as operating in a way similar to how graph paper functioned for the»60s generation of minimal and conceptual artists.

Gaines's keynote concerned art as an aesthetic practice versus art as a cultural practice, and as he dug into the work of Adrian Piper and a group he termed «first - generation Conceptual artists,» he related the stakes of reading, teaching, and understanding artwork in the twenty - first century.

With artists such as Donald Judd, Dan Flavin, Eva Hesse, Sol LeWitt and Robert Morris, Andre redefined our understanding of sculpture, moving the significance of the practice from material to conceptual levels.

If we consider this book on a conceptual level, as with his paintings, the lessons are not so much about color as they are about the fact that humans are limited in what they can perceive, and if artists can understand those limitations they can potentially expand the perceptual range of those who encounter their work.

Lozano's abstract paintings, reaching a peak of geometrical clarity in 1965, were explorations in the artist's understanding of space; similar work was being done by the conceptual and minimalist artists of the era, such as Donald Judd, Sol Lewitt, and Mel Bochner.

Whether it be language as artmaking material (as is the case with Lawrence Weiner's work), the wall drawings of Sol LeWitt (where the instructions for carrying out a piece are as crucial as the drawing itself), or the often dense and always rich writings of the British group Art & Language (their essays being best understood as art), recent art history is brimming with artists engaging with language in order to better elucidate a specific conceptual and aesthetic sensibility.

Henri Matisse is a really foundational artist for me, as is late 1960s American and European conceptual art, certain Arte Povera artists, as well as French and German painting of the 1960s through to the»80s — Yves Klein, Daniel Buren, Martin Barre, Olivier Mosset, Blinky Palermo, Gerhard Richter, Martin Kippenberger, Imi Knoebel, Sigmar Polke — not to mention many non-art practices, such as design, writing and music... I haven't ever really felt or even understood the need to situate myself in any lineage, other than a sort of elective affinities grouping, which is maybe a very contemporary luxury for an artist.

During the early 1970s he studied with conceptual artist Joseph Beuys, whose interest in using an array of cultural myths, metaphors, and personal symbolic vocabulary as a means to engage and understand history inspired Kiefer.

At others times the works point towards the broader conceptual and ideological framework of the studio, the artist, the gallery, the curator, and the artwork itself — each of which are understood (at least by these artists) as being in flux and negotiable.