Tate Publishing, 2002 - 80 ページ
Conceptual art has challenged two key concepts normally associated with art - the production of objects to look at, and the act of contempolative looking itself. Paul Wood examines how this movement may be seen as a turning point between a modernist past and a post-modern present.
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abstract art academic art aesthetic American Art & Language art object art world Art-Language art's Arte Povera avant avant-garde avant-gardist became become Beuys Broodthaers Buchloh Buren canvas claim Collection Conceptual art Conceptual artists conceptualist contemporary art context conventional critique Duchamp Duchampian early i970s emergence essay exhibition Factum Fluxus Gallery Graham Greenberg Haacke Haacke's ideas identity ideology installation institutions issues John Joseph Kosuth Kabakov Kelly kind later London Lucy Lippard Meireles Mel Ramsden Michael Baldwin Michael Fried Modern Art modernist modernist art modernist painting Morris Mosset Museum of Contemporary Museum of Modern Nauman paper parody photographs piece Piper political politicised Post-Partum Document practice produced published question radical range readymade relationship representation Robert Rauschenberg role sculpture sense Siegelaub significant Smithson social Sol LeWitt Soviet status Stella strategy Tate theory things Tucaman Victor Burgin visual art wall Weiner wider York