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Sanja Cvetnić

(Mića) [Mangelos]

(b Šid, Serbia, March 14, 1921; d Zagreb, Croatia, Dec 18, 1987).

Croatian art historian, critic, curator, and conceptual artist. His father was the landowner Ilija Bašičević Bosilj, who became a ‘naïve’ painter in the 1950s. Dimitrije studied art history in Vienna, than Zagreb. He graduated from the Faculty of Humanities and Social Sciences at the University of Zagreb with the PhD in Art History in 1956. In the fierce polemics about abstract art in the 1950s, he sided with those promoting abstraction. He not only wrote about it, but also participated in organizing Salon 54, the first group exhibition of abstract paintings in Croatia (and the former Yugoslavia), which was held in Rijeka in 1954. From 1960 until 1964 he was a curator at the Gallery of Primitive Art (now Croatian Museum of Naïve Art). In 1965 he became a curator of the Benko Horvat Collection within the Galleries of the City of Zagreb (now Museum of Contemporary Art) and, when its Centre for Film, Photography and Television opened in ...

Article

Hilary Gresty

(b Sheffield, July 24, 1941).

English conceptual artist, writer and photographer. He studied painting at the Royal College of Art from 1962 to 1965 and philosophy and fine art at Yale University from 1965 to 1967. From the late 1960s he adhered to Conceptual art using combinations of photographic images and printed texts to examine the relationship between apparent and implicit meaning. In his ...

Article

Mary M. Tinti

Architecture, design and conceptual art partnership. Diller Scofidio + Renfro [Diller + Scofidio] was formed in 1979 by Elizabeth Diller (b Lodz, Poland, 1954) and Ricardo Scofidio (b New York, NY, 1935) as an interdisciplinary design practice based in New York.

Diller studied at the Cooper Union School of Architecture in New York (BArch, 1979) and then worked as an Assistant Professor of Architecture (1981–90) at the Cooper Union School of Architecture, becoming Associate Professor of Architecture at Princeton University in 1990. Scofidio, who also attended Cooper Union (1952–5), obtained his BArch from Columbia University (1960) and became Professor of Architecture at Cooper Union in 1965. In 1997 Charles Renfro joined the firm and was made partner in 2004, at which point the partnership changed its name to Diller Scofidio + Renfro. While the couple (who are married) initially eschewed traditional architectural projects in favor of installations, set design and landscape design, by the 21st century their firm had received commissions for both new buildings and renovations of existing architecture. Diller and Scofidio were the first architects to receive a MacArthur Foundation fellowship (...

Article

Annamaria Szőke

(b Budapest, July 4, 1928; d Budapest, May 22, 1986).

Hungarian architect, sculptor, conceptual and performance artist, teacher, theorist and film maker. He came from a Jewish–Christian family, many of whom were killed during World War II. In 1947 he began training as a sculptor at the College of Fine Arts in Budapest, but he left and continued his studies in the studio of Dezső Birman Bokros (1889–1965), before training as an architect from 1947 to 1951 at the Technical University in Budapest. During the 1950s and early 1960s he worked as an architect and began experimenting with painting and graphic art, as well as writing poems and short stories. During this period he became acquainted with such artists as Dezső Korniss, László Latner and, most importantly, Béla Kondor and Sándor Altorjai (1933–79), with whom he began a lifelong friendship. In 1959 and 1963 he also enrolled at the Budapest College of Theatre and Film Arts but was advised to leave both times....

Article

Nizan Shaked

Term used to describe a strand of conceptual art that takes the art establishment as its subject of investigation. Working since the 1960s and 1970s artists such as Michael Asher (1943–2012), Marcel Broodthaers, Daniel Buren, Hans Haacke, John Knight (b 1945), Adrian Piper and Mierle Laderman Ukeles questioned the hidden assumptions, ideologies and operation of institutions such as galleries, museums, publications and private collections, their artwork serving to reveal the frameworks of classification and circulation that give art its meaning or value. Michael Asher’s strategic interventions highlighted the preexisting conditions of the institution by revealing the economic system of art, and thus demystified the alleged neutrality of the “white cube” modernist display space. For his exhibition at the Claire Copley Gallery, Los Angeles (21 Sept –12 Oct 1974), Asher removed the partition wall that separated the exhibition gallery from the office and storage area, placing on display the backroom activities, exhibiting the material and social realities of art instead of art objects....