Conceptual Art & Minimalism
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Bob Law Obit
Obituary: Bob Law Tuesday 25 May 2004 A founding father of British minimalism, he continued to display hints of St Ives in his work The undertow of artistic St Ives in the 1950s was so strong that it pulled in the young, the untalented, the no-hopers, the beach bums and the untrained optimists who hoped that something might rub off. Bob Law, who has died aged 70, fell into the last category. But something did rub off, and he died as one of the founding fathers of British minimalism, with an international reputation. He had begun post-school life as an apprentice architectural designer, dipped into a ragbag of geometry, alchemy, ornithology, zoology and the beachcomber's ology, palaeontology. Remembering his childhood essays in drawing and watercolour with his grandmother, he did a little watercolour painting as well. In 1957, he went to St Ives, where he met Bernard and Janet Leach, who taught him pottery. He also met Peter Lanyon, who encouraged him to paint. It was quickly obvious that Law had an acute eye and sense of design and inventiveness, and, by 1959, he had the beginnings of a reputation, working from a cottage at Nancledra, which he rented from the painter Trevor Bell and which Roger Hilton later bought. It was cheap, said Law, as there was "no water, no electric, no gas, nothing, just a standpipe outside". At first sight, it seemed odd for an artist whose achievement rested on large canvases and drawings consisting of nothing but modified fields of black, that he should be remembered for his connection with St Ives, where the abstraction was, by and large, rooted in the landscape, whereas minimalism's many fathers, from Albers and Malevich to Donald Judd and Carl Andre, did not include landscape artists. -
The Conceptual Art Game a Coloring Game Inspired by the Ideas of Postmodern Artist Sol Lewitt
Copyright © 2020 Blick Art Materials All rights reserved 800-447-8192 DickBlick.com The Conceptual Art Game A coloring game inspired by the ideas of postmodern artist Sol LeWitt. Solomon (Sol) LeWitt (1928-2007), one of the key pioneers of conceptual art, noted that, “Each person draws a line differently and each person understands words differently.” When he was working for architect I.M. Pei, LeWitt noted that an architect Materials (required) doesn't build his own design, yet he is still Graph or Grid paper, recommend considered an artist. A composer requires choice of: musicians to make his creation a reality. Koala Sketchbook, Circular Grid, He deduced that art happens before it 8.5" x 8.5", 30 sheets (13848- becomes something viewable, when it is 1085); share two across class conceived in the mind of the artist. Canson Foundation Graph Pad, 8" x 8" grid, 8.5" x 11" pad, 40 He said, “When an artist uses a conceptual sheets, (10636-2885); share two form of art, it means that all of the planning across class and decisions are made beforehand and Choice of color materials, the execution is a perfunctory affair. The recommend: idea becomes a machine that makes the Blick Studio Artists' Colored art.” Pencils, set of 12 (22063-0129); Over the course of his career, LeWitt share one set between two students produced approximately 1,350 designs known as “Wall Drawings” to be completed at specific sites. Faber-Castell DuoTip Washable Markers, set of 12 (22314-0129); The unusual thing is that he rarely painted one share one set between two himself. -
Art, Real Places, Better Than Real Places 1 Mark Pimlott
Art, real places, better than real places 1 Mark Pimlott 02 05 2013 Bluecoat Liverpool I/ Many years ago, toward the end of the 1980s, the architect Tony Fretton and I went on lots of walks, looking at ordinary buildings and interiors in London. When I say ordinary, they had appearances that could be described as fusing expediency, minimal composition and unconscious newness. The ‘unconscious’ modern architecture of the 1960s in the city were particularly interesting, as were places that were similarly, ‘unconsciously’ beautiful. We were the ones that were conscious of their raw, expressive beauty, and the basis of this beauty lay in the work of minimal and conceptual artists of that precious period between 1965 and 1975, particularly American artists, such as Sol LeWitt, Robert Morris, Dan Flavin and Dan Graham. It was Tony who introduced (or re-introduced) me to these artists: I had a strong memory of Minimal Art from visits to the National Gallery in Ottawa, and works of Donald Judd, Claes Oldenburg and Richard Artschwager as a child. There was an aspect of directness, physicality, artistry and individualized or collective consciousness about this work that made it very exciting to us. This is the kind of architecture we wanted to make; and in my case, this is how I wanted to see, make pictures and make environments. To these ends, we made trips to see a lot of art, and art spaces, and the contemporary art spaces in Germany and Switzerland in particular held a special significance for us. I have to say that very few architects in Britain were doing this at the time, or looking at things the way we looked at them. -
All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
Download Curriculum
CORNELIA PARKER 1956 Nace en Cheshire / Neix a Cheshire / Born in Cheshire 1974-1975 Gloucestershire College of Art & Design 1975-1978 Wolverhampton Polytechnic - B.A. Hons 1980-1982 Reading University - M.F.A. Vive y trabaja en Londres / Viu i treballa a Londres / Lives and works in London Exposiciones Indiviaduales (selección) / Exposicions individuals (sel·lecció) / Selected solo shows 2011 D’Amelio Terras, (front room) New York Thirty Pieces of Silver York St Mary’s, York (in association with Tate) 2010 Doubtful Sound, Baltic Centre for Contemporary Art, Gateshead D’Amelio Terras, (front room) New York No Mans Land, Two Rooms, Auckland, New Zealand (as part of International Artists Residency) 2009 Nocturne: A Moon Landing, Firework display and installation to open Jupiter Artland, Edinburgh 2008 *Guy Bartschi, Geneva *Carles Taché, Barcelona Never Endings Museo De Arte de Lima, Peru (Touring from IKON) Latent News Frith Street Gallery, London Chomskian Abstract, Whitechapel Laboratory, Whitechapel Gallery, London (touring: Ballroom Marfa, Texas; Galleria d’Arte Moderna Contemporanea, Bergamo: Fundacion PRO, Buenos Aires; Henie Onstad Kunstsenter, Oslo; The Institute for the Re-adjustment of Clocks, Istanbul; Kunsthaus, Zurich; Moderna Museet, Stockholm; The Ullens Centre for Contemporary Artm Beijing) 2007 * Never Endings IKON, Birmingham 2006 * Brontean Abstracts, Brontë Parsonage Museum, Haworth, West Yorkshire 2005 Focus: Cornelia Parker, The Modern Art Museum of Fort Worth, Fort Worth, Texas New Work by Cornelia Parker, Yerba Buena -
Shock Value: the COLLECTOR AS PROVOCATEUR?
Shock Value: THE COLLECTOR AS PROVOCATEUR? BY REENA JANA SHOCK VALUE: enough to prompt San Francisco Chronicle art critic Kenneth Baker to state, “I THE COLLECTOR AS PROVOCATEUR? don’t know another private collection as heavy on ‘shock art’ as Logan’s is.” When asked why his tastes veer toward the blatantly gory or overtly sexual, Logan doesn’t attempt to deny that he’s interested in shock art. But he does use predictably general terms to “defend” his collection, as if aware that such a collecting strategy may need a defense. “I have always sought out art that faces contemporary issues,” he says. “The nature of contemporary art is that it isn’t necessarily pretty.” In other words, collecting habits like Logan’s reflect the old idea of le bourgeoisie needing a little épatement. Logan likes to draw a line between his tastes and what he believes are those of the status quo. “The majority of people in general like to see pretty things when they think of what art should be. But I believe there is a better dialogue when work is unpretty,” he says. “To my mind, art doesn’t fulfill its function unless there’s ent Logan is burly, clean-cut a dialogue started.” 82 and grey-haired—the farthestK thing you could imagine from a gold-chain- Indeed, if shock art can be defined, it’s art that produces a visceral, 83 wearing sleazeball or a death-obsessed goth. In fact, the 57-year-old usually often unpleasant, reaction, a reaction that prompts people to talk, even if at sports a preppy coat and tie. -
Charles Saatchi's 'Newspeak'
Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach. -
The Ba Back Door Fe
FIRST COMPREHENSIVE U.S. SURVEY OF MARTIN CREED’S MULTIDISCIPLINARY PRACTICE ANIMATES ARMORY IN AN UNPRECEDENTED DISPLAY THIS JUNE The Back Door Features Artistic Interventions and Performances throughout Armory’s Drill Hall and Historic Interiors, Including Debut of Major New Commission and First Complete Presentation of Creed’s Video Works New York, NY—May 20, 2016—Turner Prize-winning artist Martin Creed takes over Park Avenue Armory’s entire first floor—from itss expansive Wade Thompson Drill Hall and adjacent bunkers, to its historic period rooms and corridors—wwith the largest U.S. survey of his work annd the most extensive single-artist installation at the Armory to date. On view June 8 through August 7, 2016, The Back Door features a seriies of sculptural interventions, installations, and performances, including the first complete showing of Creed’s films and video works and a major new commission for the Armory’s drill hall. Internationaally recognized for his use of minimalist strategies, Creed employs singular gestures to poowerful Martin Creed, Work No. 8000 , 2007. Emulsion on wall, Stripes effect in works that are seemingly simple and precise. 9 in / 23 cm wide; overall dimensions variable. © Martin Creed Opening and closing curtains and doors—including the back door of the Armory’s drill hall, from which the exhibition takes its title—a slamming piano, lights going on and off, and a room filled halfway with balloons create a playful spectacle that transforms the Armory into a multi-dimensional space with a life of its own. “Martin’s sweeping vision for this undertaking reflects our mission to provide a platform for artists to push the boundaries of their practice into unprecedented realms,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory. -
20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching Special Editions by Cornelia Parker & John Stezaker 2
20TH ANNIVERSARY LIMITED EDITIONS SHOWCASE Launching special editions by Cornelia Parker & John Stezaker 2 – 10 November 2018 To mark and celebrate twenty years of Ingrid Swenson’s tenure as director of PEER and her recent MBE Award for Services to the Arts in East London, artists Cornelia Parker and John Stezaker have very generously produced prints in limited editions of 50 each to support PEER’s programme, which will be launched to the public on 2 November. We are using this as an opportunity to highlight some of PEER’s achievements over the past two decades with a display of previous artists’ editions and publications from Mike Nelson, Fiona Banner, Anthony McCall, Kathy Prendergast, John Smith, Bridget Smith and many others. November marks twenty years to the month since Ingrid began working at PEER, which was then known as The Pier Trust. Over this period, Ingrid has developed a curatorial strategy that acknowledges how art can and should have a meaningful and powerful place in the lives of people across the whole spectrum of our diverse society. Ingrid’s work has been far-reaching nationally and internationally, but always rooted in an embrace of the community. Over these two decades, it has been a great privilege for PEER to have been able to work with more than 150 emerging, mid- career and established artists; ranging from the one-off event to more ambitious and complex commissions. To set us on our way towards the next twenty years, we are delighted that both Cornelia Parker and John Stezaker have so generously agreed to make limited edition prints to be sold to support our artistic and local programmes. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Abstract Drawing 20 February – 19 April 2014 Curated by Richard Deacon
Drawing Room, 12 Rich Estate, Crimscott Street, London SE1 5TE Abstract Drawing 20 February – 19 April 2014 Curated by Richard Deacon Artists include: Tomma Abts, Roger Ackling, Anni Albers, David Austen, David Batchelor, Victor Ciato, Garth Evans, Monir Shahroudy Farmanfarmaian, John Golding, Lothar Götz, Frederick Hammersley, Victoria Haven, Susan Hefuna, Eva Hesse, Dom Sylvester Houédard, Anish Kapoor, Hilma af Klint, John Latham, Bob Law, Sol LeWitt, Gordon Matta-Clark, Kazimir Malevich, Emma McNally, Sam Messenger, Nasreen Mohamedi, Jackson Pollock, Dorothea Rockburne, Mira Schendel, Richard Serra, Kishio Suga, Darrell Viner, Alison Wilding, Richard Wright. Artist Richard Deacon has selected a broad range of works by over 30 artists spanning the last 105 years on the idea of ‘abstraction’ in drawing. Deacon says: ‘This exhibition has no ambitions to be a universal survey, but in selecting a show around the idea of abstract drawing, these various strands – inscriptive, calligraphic, ornamental, generative, individuating and identifying – have all featured.’ Richard Deacon CBE is one of the most important British sculptors of his generation and has exhibited internationally since the early 1980s. He won the Turner prize in 1987, and a major retrospective exhibition of his work is presented at Tate Britain in 2014 (5 February – 27 April). The activity of drawing is crucial to his work as a sculptor, which engages with processes and means of manufacture. This deep interest in making as an activity is evident in his selection of works for Abstract Drawing. The earliest works exhibited here are drawings made in 1906 by Swedish artist Hilma af Klint, recently heralded as producing the earliest forms of Western abstraction, and in 1917/18 by Kazimir Malevich, regarded as the father of abstraction. -
Untranslating the Neo-Avant-Gardes Luke Skrebowski
INTRODUCTION UnTranslaTing The neo-aVanT-garDes luke skrebowski This guest-edited issue aims to trouble assumptions about the trans- latability of various global neo-avant-gardes into canonical Anglo- American terms and categories—including Pop, Minimalism, Conceptualism—however problematized and expanded they may be in the process. The assumptions I have in mind tend to prop up the cul- tural hegemony of Western institutions by means of a logic of inclusion that serves to reinforce rather than destabilize the status quo. To this end, this issue foregrounds the problem of translation, and specifi cally the fi gure of “the untranslatable,” to address the mediation of global neo-avant-gardes in a more refl exive way, going beyond the often nebu- lous and frequently one-sided notions of “infl uence,” “interaction,” or “contact” that continue to characterize much of the discourse on the global neo-avant-gardes. The notion of the untranslatable is borrowed from Barbara Cassin, via Emily Apter and Jacques Lezra, and is developed here for comparative work in, but also in a certain sense against, global art his- tory. Cassin’s multilingual philosophical lexicon Vocabulaire européen des philosophies: Dictionnaire des intraduisibles (2004) consists of a select number of terms drawn from particular national and linguistic philosophical traditions which are chosen precisely for their “untrans- latability,” a term that, as Cassin insists, “n’implique nullement que les termes en question . ne soient pas traduits et ne puissent pas 4 © 2018 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_e_00206 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_e_00206 by guest on 26 September 2021 l’être—l’intraduisible c’est plutôt ce qu’on ne cesse pas de (ne pas) traduire.” (“In no way implies that the terms in question .