Phil America | |
---|---|
Born | 1983 (age 39–40) Sacramento, California, U.S. |
Nationality | American |
Known for | Conceptual artworks |
Movement | Contemporary art |
Phil America (born 1983) [1] is an American artist who creates conceptual artworks mixed with design and photography.
His work has been shown in solo and group exhibitions in the USA, [2] Bangkok, [3] Seoul [4] and other cities around the world. [5] [6] He has created temporary installations at an abandoned platform beneath a New York City subway station,[ citation needed ] and on the Mexico–United States barrier as well as other works in public space. [7]
Dating back to his roots in graffiti, [8] America has created art in public space as well as documenting it in his books. In 2013 he created a fabricated living quarters in a suburb in Bangkok, later showing it in a local museum. [9] He later created what he calls "illegal galleries" in a number of places, including on the Mexico–United States barrier, [10] in an abandoned New York City Metropolitan Transportation Authority station [11] [12] and at a Los Angeles swap meet. [13]
In 2014 America spoke at a TEDx conference on the language of art and the importance of using art to make positive social changes in the world, amongst other topics.
In 2016 he lived in a museum as a part of one of his installations [2] that was first installed illegally in a tent city in San Jose where he lived for one month. [14]
Also in 2016 his work was unveiled as one of the permanent art installations at Golden 1 Center, the Sacramento Kings' new arena. [15] The work consists of hundreds of cut-up player worn basketball shoes and forms a large Kings logo.
In 2018, America collaborated with fashion designer Boris Bidjan Saberi on their Spring / Summer 2018 collection. [16] [17]
The Royal Chicano Air Force (RCAF) is a Sacramento, California-based art collective, founded in 1970 by Ricardo Favela, José Montoya and Esteban Villa. It was one of the "most important collective artist groups" in the Chicano art movement in California during the 1970s and the 1980s and continues to be influential into the 21st century.
Tony Oursler is an American multimedia and installation artist. He completed a Bachelor of Fine Arts at the California Institute for the Arts, Valencia, California in 1979. His art covers a range of mediums, working with video, sculpture, installation, performance, and painting. The artist currently lives and works in New York City.
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Golden 1 Center is an indoor arena, located in downtown Sacramento, California, United States. It sits partially on the site of the former Downtown Plaza shopping center. The publicly owned arena is part of a business and entertainment district called Downtown Commons (DoCo), which includes a $250 million 16-story mixed-use tower.
Waldemar Tatarczuk, born in 1964 in Siemiatycze, Poland, lives and works in Lublin, Poland. He is a performance and installation artist, art curator, was the founder and curator of Performance Art Centre in Lublin (1999–2010), director of Galeria Labirynt in Lublin. He has been active as a performance artist since 1988. He has taken part in performance art events throughout Europe, North America and Asia including: Infr'action (Paris/France), Navinki (Minsk/Belarus), Asiatopia (Bangkok/Thailand), Open (Beijing/China) KIPAF, undisclosed territories (Solo/Indonesia), 7a*11d (Toronto/Canada), Differences (Warsaw/Poland), Interakcje . His curatorial projects include: 'Art Kontakt' Performance Art Festival (Lublin/Poland), European Performance Art Festival EPAF, Performance Arsenal, 'Open City' Festival of Art in Public Spaces (Lublin/Poland), and Performance Art Days.
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Kimsooja is a South Korean, multi-disciplinary conceptual artist based in New York, Paris, and Seoul. Her practice combines performance, film, photo, and site-specific installation using textile, light, and sound. Kimsooja's work investigates questions concerning the conditions of humanity, while engaging issues of aesthetics, culture, politics, and the environment. Her principle of ‘non-doing’ and ‘non-making,’ which follows a conceptual and structural investigation of performance through modes of mobility and immobility, inverts the notion of the artist as the predominant actor.
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