View allAll Photos Tagged conceptualart
Produced in New York in 1990.
Oil on canvas, wood. Deconstructed handwritten text appropriated from classical novels.
Reproduced in: Igor & Svetlana Kopystiansky. DAAD 1990.
Berlin
www.worldcat.org/title/igor-svetlana-kopystiansky-23-augu...
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
39|52
Stuck in time...
It's almost 20:00 and I'm stuck...unable to move forward or escape its grasp. As the clock approaches 20:00, everything around me seems to blur, and the minutes leading up to it feel heavy with anticipation. When 20:00 finally arrives, it's as if the world stops turning, trapping me in that exact time, replaying the same thoughts, feelings, and memories over and over again.
Time continues to march on for everyone else, but for me, 20:00 is a moment where everything pauses. The rest of the evening fades into the background, and my mind fixates on the fact that 20:00 will forever be imprinted in my mind.
Breaking free from this cycle feels daunting, as if stepping beyond 20:00 means letting go of something I'm not ready to release. But I know until I do, I remain stuck, living the same hour again and again, as the world moves on without me...
#fineart #photography #conceptual #conceptualphotography #surrealism #finearts #photooftheday #creative #creativity #art #photoshop #project52 #darkart #surrealphotography #conceptualart #nikon #liveforthestory
Taken in the Chasama studio of Mary Ivy Martin for her work Arboreal Anxieties in which discarded Christmas trees are turned into wearable art. A performance is also added to the piece where the trees were walked back to their original location of being found. This piece was unique in that it had a lot of tinsel still on its branches when it was found.
“Untitled” 1988
Produced in New York City.
Collection Helyn Goldenberg, Chicago.
oil on canvas, handwritten text appropriated from classical novels
180 x 130 cm/ 51 x 71”
“The basis of my works from the series “text-objects” is a literary text put onto canvas. For me the text has two aspects: firstly it is a reality (written words are part of the real world around us), and secondly the text delivers information about the reality outside it. In my works I use many different texts. I turn to literature: novels, stories, classical dramas. In one work, several works from various authors may be combined: the works are not always given completely and may be broken off at the edge of the canvas or be used fragmentarily.
I work directly with the material and exploit its specific physical characteristics: the elasticity of the weave makes it possible to shape it at will, and its thinness and flexibility let it bee torn into pieces of various sizes. I produce objects on which simple geometrical forms or landscapes are delineated or objects whose material is freely arranged in various large folds. In this way the original form of the text is changed, and the new form gives rise to a new sequence of letters and signs. The visual form takes precedence over the text, and the attention of the viewer springs from the drawing to the text, which, however, can no longer bee read simply, since the words disintegrate and then come together in unbelievable constructions. A game arises with the text-reality and the words, or rather with the visual form of the words (as distinct from their semantic and phonetic aspects).
I have arranged happenings, where the text-objects have been read out and tape-recordings made. Finally the text was printed, to document the happening.
In the series of works, where the texts and the depictions of landscapes interact, this series follows the intention of having two realities and two illusions appear together: the one of the picture with its physical reality and the illusion of the depiction, and the one of the text with the visual reality of its form and with the worlds which are described in it.”
Svetlana Kopystiansky, 1988.
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...
31|52
Enduring Desolation
but can you endure it all until morning comes?
#Fineart #Photography #Conceptual #Conceptualphotography #Surrealism #Finearts #Squere #Photooftheday #Creative #Creativity #Art #Photographers #edit_perfection #Photoshop #Darkart #Project52 #surreal #darkart #morneprinsloophotography #surrealphotography #conceptualart #southafricanphotographer #Nikon #adobephotoshop #liveforthestory
"Negar la objetividad material, la especificidad del medio y la visualidad", me comenta Ramón antes de entrar en quirófano, "eso es lo que pretendo con esta acción. Al someterme a una laparotomía intrínsecamente innecesaria estoy descontextualizando una intervención, descontextualizo este entorno aseptizado y, por ende, descontextualizo mi vida como mera experiencia física".
Después de esto, la anestesia era lo de menos.
Michael Rawling’s Elemental Series uses Film and Found Materials at the pictures’ location to create a new type of Landscape art.
Liquid, organic or mineral samples are collected at the site of the photograph - from the very landscape depicted within the photograph - and bonded with the film over 6-12 months: the resulting image created more deeply representative of the world we experience.
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(C) Copyright 2019. All Rights Reserved. .
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Site
Location #3 - 20 Mile Point: Colne Estuary, Brightlingsea, Essex.
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Organic Materials
North Sea water, tidal pool water, seaweed, pebbles, sand.
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******** next exhibition! **********
See me in London! More news on my next exhibition coming soon! ************************************
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See more at: photography.michaelrawling.com
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Buy these artworks large and framed at: www.saatchiart.com/account/artworks/861831
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Buy prints at: etsy.me/2NnhRCB
#License SOLD! 🔸 #Metamorphosis and #Connections #Surreal #Conceptual #Art 🔸 #Vector Art © #BluedarkArt #TheChameleonArt 👉 www.dreamstime.com/metamorphosis-connections-surreal-conc...
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Visit my #Portfolio 😃 Thank You! 👉 www.dreamstime.com/bluedarkat_info
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Your #Purchase helps fight Covid-19
Hershman, Lynn, Eleanor Coppola, Contemporary Art Council, Society for the Encouragement of Contemporary Art Re: Forming Familiar Environments. [Los Angeles: Los Angeles County Museum of Art?], 1975.
See MCAD Library's catalog record for this book.
Submitted by Christan Rupp
Exhibitions and Participations
2007
Bioforms2” - Cheapart-Gallery, Athen
Project "Reflecting Media" - Art Athina 2007 ArtFair in Athens
Organizer, CoCurator and participating Artist in ARTmART, viennaartweek, Künstlerhaus, Vienna
2006
"cheapart 12" - Cheapart-Gallery, Athen
ex_sampling European Month of Photography, Künstlerhaus, Vienna
WO[+]MAN, 5th Human Rights Arts Festival, Athen
://selfportrait - a show for Bethlehem
Betlehem Cologne Poland Naples Santa Fe (Argentina) Rosario (Argentina)
Körperchen, Medienwerkstatt, Vienna
SOHO in Ottakring 2006“, Vienna
26 Flags 4th European Social Forum , Athens
2005
"cheapart 11" - Antonopoulou-Gallery, Athen
"update" - Künstlerhaus, Vienna
SOHO in Ottakring 2005, Vienna
2004
"cheapart 10" - Cheapart-Gallery, Athen
Guest-Artist for the year 2004 with the group K.U.L.M.: steirischer herbst, Palais Attems, Graz, MAK-Nite, Vienna, FotoFluss Wolkersdorf, etc...
"RRF 2004", www.newmediafest.org/rrf2004 by Wilfried Agricola de Cologne
Grafist 8, Mimar Sinan Fine Arts University, Istanbul
2003
"Quo vadis Logo Freiraum/quartier21, MQ, Vienna
2001
"Expanding Realities“, Kulturgelände Nonntal, Salzburg
1998
"Intervention zur Situation der Erwerbslosen", being part of the group Wochenklausur, Kunstamt Kreuzberg and NGBK, Berlin
Education: University of applied Arts in Vienna, Austria / Högskolan
för Design och Konsthantverk in Göteborg, Sweden / Technical
University of Vienna, Austria / IFF Wien, University of Vienna,
Austria
DAAD, Berlin
The work “Universal Space” does represent a series of sculptures and installations originated and exhibited for the first time in New York in 1990.
Books are editions of novels in English. In this installation was created a two functional space in which were combined functions which are not compatible in the reality, what does refer to artistic ideas of the surrealism. Real books used in this work and equipment for boxing are found objects, what does refer to ideas of Marcel Duchamp.
Each book is fixed in an individual wooden box in a way that the title has been hidden, but pages do shape in each case a unique form.
Because of these differences in the shape, the viewer is able to see different fragments of the text in each book.
Svetlana Kopystiansky. 1991
#AbFav_MONTH_of_DECEMBER_🎀
Around a present, it is nice to have ribbon, a bow, a red ribbon and bow...
The present is your wonderful comments and kind words, I'm wrapping it in this 'thank you red ribbon'!
This red bow, was swirling into my composition... with flair...
Another 'light-play' in the studio.
Often it is good to 'position' something and NOT fiddle with it too much?
In other words, leave it alone, just light it well and photograph it...
Thank you for your time and comments, greatly appreciated, M, (*_*)
For more: www.indigo2photography.com
Please RESPECT this:IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
red, ribbon, feather, bow, knot, design, Christmas, studio, square, conceptual art, black background, colour, horizontal, Nikon, "”Magda indigo"
UNICODE 5.1.0 meets Or-Omcode∞.1.0
Unicode represents the Tower ob Babel en.wikipedia.org/wiki/Tower_of_Babel In computing, Unicode is an industry standard allowing computers to consistently represent and manipulate text expressed in most of the world's writing systems. Developed in tandem with the Universal Character Set standard and published in book form as The Unicode Standard, Unicode consists of a repertoire of more than 100,000 characters, a set of code charts for visual reference, an encoding methodology and set of standard character encodings, an enumeration of character properties such as upper and lower case, a set of reference data computer files, and a number of related items, such as character properties, rules for normalization, decomposition, collation, rendering and bidirectional display order (for the correct display of text containing both right-to-left scripts, such as Arabic or Hebrew, and left-to-right scripts). en.wikipedia.org/wiki/UniCode
Or-Omcode∞.1.0 represents a new Universal Language de.wikipedia.org/wiki/Universalsprache derived within the Doctine Of Essense by
de.wikipedia.org/wiki/Karl_Christian_Friedrich_Krause
Encoding Unicode into the Or-Omcode∞.1.0 all traditional languages become semantically transformed within the new universal language parameters. portal.or-om.org/art/UnicodemeetsOrOmCode/tabid/6319/Defa...