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Abel Azcona's work in Havana.. Process art is an artistic movement where the end product of art and craft, the objet d’art (work of art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings.
Joan Jonas (born July 13, 1936) is an American visual artist and a pioneer of video and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s. [99] Jonas' projects and experiments provided the foundation on which much video performance art would be based.
Joan Jonas (born July 13, 1936) is an American visual artist and a pioneer of video and performance art, "a central figure in the performance art movement of the late 1960s". [1] Jonas' projects and experiments were influential in the creation of video performance art as a medium.
Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting.
Magic realism – 1960s, Germany; Minimalism – 1960 – Hard-edge painting – early 1960s, United States; Fluxus – early 1960s – late-1970s; Happening – early 1960 – Video art – early 1960 – Psychedelic art – early 1960s – Conceptual art – 1960s – Graffiti – 1960s – Junk art – 1960s – Performance art – 1960s ...
Fluxus Manifesto, 1963, by George Maciunas Poster to Festum Fluxorum Fluxus 1963.. Fluxus was an international, interdisciplinary community of artists, composers, designers, and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.
In 2009, Ant Farm revived Media Van for an exhibition at the San Francisco Museum of Modern Art (SFMOMA) titled "The Art of Participation: 1950 to Now". [36] [37] The Media Van had electronic connections that allowed the public to upload images, videos, and songs onto the van's hard-drive. The van was then sealed, like a time-capsule, with a ...
Tokyo Biennale '70 can be seen as the culmination of Nakahara's art criticism throughout the 1960s alongside his peers Tōno Yoshiaki and Hariu Ichiro (known as the "Big Three" art critics), in which he had actively commented on artist's self-reflexive positionality and affinities to Euro-American practices. [5]