The creation of three-dimensional objects was an extension of the desire to eliminate illusionism in art and move it into the real space of the gallery.
The gesture and emotion invested in the handcrafted object was rejected by him by hiring industrial fabricators to create his sculpture in materials such as Plexiglas and steel.
The VAGA is located in New York, NY.
Judd's thetic, unskilled forms of art have been popularized, emphasizing industrial production technique eliminates the artistic concept over the material object of display.
At the istic implications of brushwork to leave a smooth, even heart of this change was Duchamp's assertion that the idea surface infused with subtle color.
The arrangement allows the objects to be rated from production of the artwork's final form, which can be seen only as themselves.
The viewer's attention is usually diverted away from the boxes in conceptual works of art.
Morris argued that minimalist sculpture heightens psychological that serves as an artifact documenting the artist's process.
This idea was derived from Morris's involvement in dance and experimental per explicit--critique of the commercial galleries, museums, and art historians who assign cultural significance.
The relationship between art's relationship to systems of communication and Mini The Dematerialization malism were found to be inspiration in Conceptual Art.
Joseph Kosuth used language as a medium for art.
He illustrated this idea by showing a wooden chair, a photograph of a chair, and out the decade.
The definition of the word "chair" was printed in the dictionary.
Performance, video, and other media are used to explore the effects of physical, psychological, and intellectual experiences.
Kosuth considers the role of language and visual representation in demonstrating our individual identities.
A series of 11 color photographs were made from 1966 to 1967.
The photograph serves many functions and is Cleverly pulling together artistic identity, bodily experience, and visual communication.
His transformation into a fountain resembles nude statues that fill a traditional public fountain's basin.
The young artist's authority to recreate the famous text panel 241/8 x 241/2 was gesting.
His own body was used to make the Museum of Modern Art.
Laurie Anderson is known for her use of technology in art.
The title highlights the inherent ambiguity in systems of ing and popular entertainment.
Kosuth's work may seem to be a philosophical exercise, but his Anderson alternated telling personal stories and playing questions about words and what they represent, while wearing ice skates frozen in blocks of more critical inquiry into the systems that endow art with ice until the ice.
Anderson described her violin as a ventriloquist dummy or alter ego and used technology to modify her instrument in ways that allowed her to pre-record audio, distort sounds, or accompany her own live playing.
By manipulating her voice, she challenges the authenticity of the artist's performance, an effect further highlighted by any changes in her playing brought about by the physical discomfort of standing in ice for an extended time.
The photograph is 50.1 x 60.3 cm.
The other side shows a man filling the screen slowly.
A few drops of water start to fall, gradually becoming a downpour that obliterates the man's image and seems to wash him away.
A man is surrounded by small flames and then engulfed in a giant conflagration.
A soundtrack that fills the room with soft percussion noise that grows to a deafening roar is supplied by Viola.
As the natural elements intensify in each video, the sound remains ambiguous, but we perceive it as either fire or water depending on which scene we watch.
The large scale of the projection and the surrounding sound overwhelm the viewer in an appeal to all the senses.
Two channels of color video projections from opposite sides of a large dark gallery onto two back-to-back screens suspended from the ceiling and mounted on the floor with four channels of amplified stereo sound.
Adding to the work's open-ended mean Process and Materials ing and encouraging viewers to find personal significance in their experience, is the symbolism of ritual.
The monumental sculpture refers to ist's hand as a tribute to eliminate the expressionistic associations of the art Paik's adopted country.
When the Korean art ert Morris published "Anti-Form" in 1964, Rob States was still new.
Each of the "Notes on Sculpture" is filled with television monitors in the artistic process and sculptural form.
The work flickers out moving images from popular enter "well-built" cubes of Minimalism were the logical out tainment, news broadcasts, and Paik's own video footage.
Luther King giving a speech in Alabama was adapted from the tural knowledge by Eva Hesse, while Charlotte formal vocabulary of abstraction in sculptures that high Moorman seen on screens in her home state of Arkansas light both process and tactility.
The evocative works were full of personal history and meaning.
For viewer in a witty way by placing a closed-circuit live feed feminist critics such as Lucy Lippard, this type of "eccen of visitors looking at the work on the monitor in the Dis tric" suggested an alternative to the confronta trict of Columbia.
When Paik produced this sculp industrial materials, she used a digital superhighway that increased the used latex,Polyester, and fiberglass, giving her work ability of mass media.
There was a proliferation of visual imagery.
There are two strands of latex over rope, string, and wire.
The latex was hung from the ceiling to dry.
Today's sculpture is a chaotic mass of looping, open webs and to describe the Italian artists involved in this activity.
The dense tangles show the pull of gravity on the heavy group's emphasis on organic materials and physical inter rope suspended from above.
The sculpture actions between natural and manmade objects link Arte to other types of Process Art.
Zorio saw the scientific process of lines in a Pollock painting and was inspired by the medieval representation of the drips and practice of alchemy.
She reflected her own to effect social change by embracing the instability, metamorphosis as a visual metaphor for the power of art irrationality.