Sentences with phrase «with readymade objects»

His tambourine sculptures humorously play on contemporary art's reverence for minimal geometric forms, while also exploring the possibilities for engaging with readymade objects though subtle changes that are themselves minimal in effort.

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 juxtaposition of graphic paintings with readymade objects is one of the artist's signature moves; just as the octopus represents a found image culled from the world, the furniture speaks directly to ways of seeing that exceed the usual confines of an exhibition space.

Not exact matches

«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 readymade).

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.

He explores the various myths and narratives about our creation and how we came to inhabit the earth through the use of the readymade and manmade products placed to mimic the digestive process; the work exists as a continuum with the different objects and materials interacting, forming a narrative.

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

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.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture.

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.

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.

The sculptor Carol Bove likes to play with associations and forms as she builds her assemblages of constructed and readymade objects.

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.

Taking readymade materials — a nod to Duchamp's Dadaist sensibilities — he pierces through the skin of these photographs with mirrors, arrows, and other objects, forming what he calls «photo - sculptures.»

We've discussed how your objects denounce their cheap readymade origins and become imbued with personality and spirituality.

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.

The term «found object» is a literal translation from the French objet trouvé, meaning objects or products with non-art functions that are placed into an art context and made part of an artwork; what we now call «the readymade» is an updated version of that idea.

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!

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)

Frequently pairing readymades with alternately fabricated and hand - crafted objects, the work consistently interrogates modes of display, transforming the act of presentation into a subject unto itself.

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 procesWith 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 proceswith 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.

Taking a cue from Marcel Duchamp's infamous «readymades,» as well as Kurt Schwitters's boxed Dada collage constructions, Cornell's valise dossiers, films, collages, and seminal glass - fronted shadow boxes fluidly mix references from highbrow and lowbrow sources to create potent, poetic vignettes with a motley assemblage of found and everyday objects.

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 nWith 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 nwith 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 nwith 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.

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 his «Combines» (1954 - 62)- now considered to be his foremost body of work - Rauschenberg extended the conventions of collage and found objects, to produce combinations or hybrids of painting and sculpture in a manner comparable with Marcel Duchamps «readymades».

The paintings in the Popeye Series combine disparate found images with images of the inflatables and readymades used in the sculptures, while the sculptures themselves continue Koons's interest in juxtaposing cast aluminium exact replicas of inflatable pool toys with other readymade objects.

But the fabrication of these succinct objects has a care and density of feeling that is in tension with the idea of the readymade.

The sculpture is a masterful example of how to incorporate readymade items like the bracelets into cohesive artworks that benefit from the objects» cultural context without entirely depending on it, a balancing act some artists twice his age still seem to be struggling with.

In responding to Donald Judd who made «specific objects,» Le Va provides the viewer with «non-specific situations,» inviting us to complete the work of art through bodily interaction with materials and our sense of perception: «What I want [viewers] to do is place themselves in the work, and search out some kind of meaning that fits the object, as opposed to immediately seeing something and applying some readymade explanation... I want the work to set up a dialogue.

With more than 6,000 works on display, ranging from the 1970s to the present (including sculptures, neons, photos, paintings, videos, performances, computer - based projects and a selection of readymade objects from Milanese scientific museums), it seems Mullican has at least attempted the feat in the gargantuan space of HangarBicocca.

Aque uses the language of the readymade to his own contemplative ends, producing objects that are full to the brim with a surplus of desire and information, whether aspirational or erotic.

With readymade and found - object iconography, Appropriations spotlights a cohesive sampling of re-work distinct to each represented artist.

In line with previous installations, Costa's found objects — readymade yet reformulated — continue to express their original functions and resonances; earlier assemblages have for example recycled items of clothing from his childhood.

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

The artists take up formal elements of design and architecture classics with site - specific installations, sculptures, pictorial objects and readymades, but above all enter into a discussion with these linked radical approaches and democratic ideals.

Associated with the New British Sculpture movement since the end of the 1970s, Richard Wentworth operates in what he has termed a «readymade landscape,» transforming everyday objects such as tables, light bulbs, ladders, and buckets into new assemblages.