Bigindicator

Michelangelo Pistoletto

Profile  |  Artworks  |  Exhibitions  |  Network  |  Reviews  |  Comments
20140129022740-mp_minusobjects_lab_install_10_srgb
Determined not to become a product: The Minus Objects   Pick-button-f22fa879042524f5c7b8d2278b2983b8
by
Michelangelo Pistoletto at Luhring Augustine Bushwick December 18th, 2013 - May 11th, 2014
Posted 1/28/14
Luhring Augustine’s Bushwick satellite currently hosts the “possibilities” of Michelangelo Pistoletto. An array of things, thoughts, and playful points of interest fill the floor and walls. Vastly ranging in scope, they generate a powerful effect that often feels absent in contemporary art. speak to an interesting period of Pistoletto’s life and career. Around this time, the artist began to pioneer the predominantly Italian movement Arte Povera. The Minus Objects signaled this decisive shift.... [more]
20101104184332-003--11
Welcome to the Playground   Pick-button-f22fa879042524f5c7b8d2278b2983b8
by
Vito Acconci, Carl Andre, Chris Burden, Liam Gillick, Aernout Mik, Bruce Nauman, Dennis Oppenheim, Gabriel Orozco, Dan Peterman, Michelangelo Pistoletto, Richard Serra, Andrea Zittel at Museum of Contemporary Art (MCA) November 20th, 2010 - May 1st, 2011
Posted 1/3/11
Pulling from the Museum of Contemporary Art’s (MCA) own collection, curator Tricia Van Eck, with the help of Dominic Molon (a former curator at the MCA, now Chief Curator at the Contemporary Art Museum, St. Louis), presents this season’s bread-and-butter exhibition. Running until May, “Without You I’m Nothing” addresses an issue that has defined art from the ‘60s onward: the viewer. What is the role of the audience in art? Does art exist without an audience? How can art affect and effect the... [more]
Pascale_marthine_tayou4
World on a String   Pick-button-f22fa879042524f5c7b8d2278b2983b8
by
Jumana Emil Abboud, Georges Adéagbo, John Baldessari, Rosa Barba, Massimo Bartolini, Thomas Bayrle, Simone Berti, Mike Bouchet, André Cadere, Paul Chan, Nikhil Chopra, Moscow Poetry Club, Tony Conrad, Roberto Cuoghi, Keren Cytter, Gino de Dominicis, Nathalie Djurberg, Anju Dodiya, Elena Elagina, Cerith Wyn Evans, Öyvind Fahlström, Lara Favaretto, Hans-Peter Feldmann, Spencer Finch, Ceal Floyer, William Forsythe, Yona Friedman, Sunil Gawde, Gilbert & George, Dominique Gonzalez-Foerster, Sheela Gowda, Tamara Grcic, GUTAI, Guyton\Walker, Gonkar Gyatso, Jan Håfström, Anawana Haloba, Rachel Harrison, Florian Hecker, Susan Hefuna, Carsten Höller, Koo Jeong-A, Joan Jonas, Miranda July, Rachel Khedoori, Toba Khedoori, Moshekwa Langa, Sherrie Levine, Arto Lindsay, Renata Lucas, Goshka Macuga, Igor Makarevich, Gordon Matta-Clark, Cildo Meireles, Aleksandra Mir, Yoko Ono, Jorge Otero-Pailos, Blinky Palermo, Lygia Pape, Anna Parkina, Philippe Parreno, Pavel Pepperstein, Alessandro Pessoli, Falke Pisano, Michelangelo Pistoletto, Att Poomtangon, Marjetica Potrc, Sara Ramo, Tobias Rehberger, Pietro Roccasalva, Tomas Saraceno, Amy Simon, Simon Starling, Xu Tan, Pascale Marthine Tayou, Wolfgang Tillmans, Rirkrit Tiravanija, Grazia Toderi, Bestué Vives, Ulla von Brandenburg, Madelon Vriesendorp, Tian Tian Wang, Richard Wentworth, Pae White, Haegue Yang, Huang Yong Ping, Chu Yun, Héctor Zamora, Chen Zhen, Anya Zholud at La Biennale di Venezia (Venice Biennale) June 7th, 2009 - November 22nd, 2009
Posted 7/13/09
Curator Daniel Birnbaum chose a clever theme in this year’s curated biennale exhibition. It has almost endless scope and he did a fairly good job of making sure that the artists fit the topic – even if that did sometimes mean equating “making installations” with “making worlds”. The art was generally of high quality, interactive, thought provoking and yes, even fun.The first and most entrancing work was Lydia Pape’s “Ttéia I, C. 2002” – a black void shot through with glinting... [more]
Is this your profile?
Claim it!
ArtSlant has shutdown. The website is currently running in a view-only mode to allow archiving of the content.

The website will be permanently closed shortly, so please retrieve any content you wish to save.