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The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance.The most famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent ...
Concept art is a form of visual art used to convey an idea for use in film, video games, animation, comic books, television shows, or other media before it is put into the final product. [1] The term was used by the Walt Disney Animation Studios as early as the 1930s. [ 2 ]
An Oak Tree by Michael Craig-Martin. 1973. An Oak Tree is a conceptual work of art [1] created by Michael Craig-Martin (born 1941) in 1973. The piece, described as an oak tree, is installed in two units – a pristine installation of a glass of water on a glass shelf on metal brackets 253 centimetres above the ground, and a text mounted on the wall.
After she enrolled at Cal State Long Beach in the early 2010s, Lek left her major undeclared, figuring she'd pursue art while preparing to become a math teacher. But a visit to New York City in ...
Women conceptual artists (1 C, 119 P) D. Works by Marcel Duchamp (22 P, 16 F) E. Endurance artists (7 P) P. Conceptual photographers (28 P) Pages in category ...
Art-Language: The Journal of Conceptual Art was published by Art & Language Press, [9] it is regarded as an important influence on both conceptual art and contemporary art. [10] [11] [12] Art & Language Press was founded at the same time as an art practice under the name Art & Language in 1968 by four artists, Michael Baldwin, Terry Atkinson, Harold Hurrell, and David Bainbridge. [13]
It’s easy for films about the importance of creativity to present it as a purely generative act, but Wenders carves out space to show how destruction can also be part of the artist’s practice.
Michael Max Asher (July 15, 1943 – October 15, 2012) was an American conceptual artist, described by The New York Times as "among the patron saints of the Conceptual Art phylum known as Institutional Critique, an often esoteric dissection of the assumptions that govern how we perceive art."