Word: viewers
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Dates: during 1990-1999
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...Bent with the Eyes" (1970) is just one of the many pieces in the ICA's thoughtfully installed show which explicitly explore the viewer's relationship to the work of art by confounding normal perception. One of Brazil's most important contemporary artists, Meireles is often associated with Conceptual Art, which engages the viewer with an idea rather than an actual art object. Meireles, like the most famous Conceptual artists, including Joseph Kosuth and Lawrence Weiner, gained critical acclaim in the 1970s. Through the medium of language, Kosuth and Weiner examine such issues as the commodification of the art object...
...Meireles' use of specific materials and their symbolic associations allies him more closely with the German artist Joseph Beuys than with his American contemporaries. Although he clearly shows an interest in their theoretical concerns, his work depends on the viewer's physical experience of the actual work. For example, the show's most arresting installation, "Volatile," was conceived in 1980 but not executed until 1994, and I'm sure it didn't work on paper...
While they also demand viewer participation, Meireles' installation "Mission/Missions (How to build cathedrals)" (1987) and his series "Insertion into Ideological Circuits" (1970) are his most overtly political works. In "Mission," which was on display at Harvard's Carpenter Center until March 2, Meireles created an environment with a floor covered by 600,000 pennies beneath a ceiling of 2,000 bones. In the center of the room, a column of Catholic hosts connects the bones and pennies, setting off a chain of associations including colonial exploitation, charity, death and even cannibalism. In his "Insertion" series, Meireles stamped slogans and questions...
...Fences" succeeds as a compelling portrayal of black life in a time of great discrimination just on the verge of the Civil Rights movement. Yet the main themes and the dysfunctionality in many of the relationships can relate to the viewers' own lives. The play raises provocative questions that can only be answered by introspection. This cathartic effect is a testimony to how deeply the superb acting affects the viewer...
Kosuth demonstrates a most literal attention to self-consciousness and selfinvestigation in his pieces from the 1970s. A series of four photographs from 1975 shows questionnaires that Kosuth demanded that his viewers complete before leaving the gallery. The questionnaire asks the viewer to respond not only to the work, which is not shown in the MIT exhibit, but also to contemporary politics, such that one questionnaire mentions U.S. foreign policy with Cuba...