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405:, stating that Brouwn âwants the viewer to become his work" and "hat is only possible by letting the viewers complete his work in their imagination, over and over again. They are forced to become space and distance, forced to experience space as if it were 4000 ADâ. Belgian curator and writer Laura Herman critiqued Brouwn's manipulation of existing and creation of new units of measurement, explaining that âa sly sense of humour permeates the artistâs appropriation of bureaucratic language, which he manipulated toward his own ends."
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Eventually, Brouwn began to consider the role of the audience in the development of artwork. One of his early works involved the dispersion of paper sheets across
Amsterdam streets. The art that appeared upon the sheets resulted from the footprints of pedestrians and tire prints from cyclists.
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The works and practice of Brouwn are said to have shaped future conceptualist thinking and aesthetics. Laura Herman stated that Brouwn continues to inform contemporary observations and reflections of scaled perspectives. The signature absence of Brouwn and its impact upon
Conceptualist style is
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During the 1970s, Brouwn produced works exploring units of measurement. Brouwn developed units of measurement based on the length of his various body parts. He developed the âStanley Brouwn footâ, which was the length of his foot. It measured approximately 26 cm. One of his works,
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Brouwn also explored the concept of deformation. In 1974, he drew lines constructing borders upon three sheets of paper. Each of these lines denoted the length of a step. If these sheets were hung together, a movement in a single direction could be observed.
289:"It is the search for the awareness we have of wide space and the discovery of the city before we discover space. With these events, I am trying to make something of what is going on to have an effect on the spectators in terms of an action".
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Another dominant trait of Brouwn's conceptualism was his absence. Brouwn refrained from attending exhibitions of his works and no bibliographical information was supplied to his audiences when viewing such exhibitions. In
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piece that consisted of Brouwn asking passers-by for directions, recording their responses on tape or encouraging them to draw their directions. Such drawings were stamped with text that read âTHIS WAY BROUWNâ.
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evaluated by Modern
Edition founder Mike Brennan, who stated that Brouwn is âan almost legendary figure whose practice is marked by insistence on various absences⊠and is famously reclusive".
329:. Each cabinet consisted of varied numbers of white cards. One of these cabinets held 1000 cards, an outline of a 3000-step walk and the length of the strides between 840 and 890 millimetres.
297:, an 'art-happening' occurred. Brouwn was seated upon a chair, placed atop a pedestal in the corner of the gallery with a polythene bag over his head. That same year, at the opening of the
281:"More and more people make long flights once or twice a year. The validity of the concept of distance is constantly being eroded. Distances are reloaded in my work, they get meaning again."
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318:, is a typewritten register of the number of steps Brouwn completed in various cities across the world, and a physical example of his concerns surrounding measurement and distance.
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Brouwn's works gained fame and earned him positions in a variety of prestigious exhibitions. During his lifetime, his works were included in
Documentas 5, 6, 7, and 11, at the
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explained that âfrom 1960 up to the present, his work would indeed appear to be exemplary of the intentions and realisations of that periodâ. Dutch writer
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221:. He also used suspended polythene bags filled with garbage. Few of these early works have survived, as Brouwn destroyed most of them.
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within the
Netherlands was widespread. Brouwn, as a conceptual artist of the movement, had chosen distance and size as his
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496:, edited by Steven Nelson and Huey Copeland. Washington: National Gallery of Art, 2023: pages 178â197.
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393:. When discussing Brouwn's conceptualism in the 1960s, Art historian, critic, educator and author
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Adrienne
Edwards. "At the Threshold of Withholding: Stanley Brouwn's Modernist Repetitions." In
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in
Eindhoven, Netherlands. His practice and works have influenced various critics, artists and
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analysed the role of the audience as active participants of Brouwn's works, especially with
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In the early 1960s, Brouwn produced his first works. These consisted of iron and wooden
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365:âAt the request of the artist, no bibliographical information is provided hereâ.
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Gallery, Brouwn asked guests directions through the streets of Berlin through a
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528:"Stanley Brouwn (1935â2017), kunstenaar met 'afstand' en 'maat' als materiaal"
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677:"Stanley Brouwn, Whose Works Examine Measurement and Memory, Dies at 81"
574:"Stanley Brouwn, Whose Works Examine Measurement and Memory, Dies at 81"
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Brouwn's works were included in various prestigious exhibitions such as
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147:. He exemplified 1960s conceptualism. His best-known works include
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701:"The eloquence of absence: the empty gallery in contemporary art"
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In & Out of
Amsterdam: Travels in Conceptual Art, 1960â1976
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of 1982 (where he represented the
Netherlands), and in a 2005
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for multiple years. Brouwn eschewed giving biographical data.
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was performed on several other occasions in the early 1960s.
188:, an artist and friend of Brouwn, introduced him to the
184:, and lived there until his death in 2017. While there,
139:(25 June 1935 â 18 May 2017) was a Suriname-born Dutch
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In 1972, Brouwn exhibited grey filing cabinets at the
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Similarly, in a rare interview in 1964, Brouwn stated:
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507:"Stanley Brouwn â This Way Brouwn (1960â1964)"
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494:Black Modernisms in the Transatlantic World
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597:Cherix, Christophe; Dippel, Rini (2009).
204:Brouwn died on 18 May 2017 in Amsterdam.
192:. Brouwn taught as a professor at the
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180:. In 1957, he travelled by boat to
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293:In 1964, at the Patio Gallery in
84:Art (conceptual and installation)
526:Bronwasser, Sacha (2017-05-22).
414:Artistic and cultural influence
253:. It was both a conceptual and
675:Russeth, Andrew (2017-05-22).
572:Russeth, Andrew (2017-05-22).
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437:"In search of Stanley Brouwn"
378:5, 6, 7 and 11, and the 1982
603:. The Museum of Modern Art.
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705:www.modernedition.com
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48:Paramaribo, Suriname
143:His works explored
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403:BROUWNTOYS 4000AD.
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64:(2017-05-18)
44:25 June 1935
736:2017 deaths
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235:(1961) and
74:Netherlands
62:18 May 2017
725:Categories
710:2019-05-17
686:2019-05-11
661:2019-05-11
656:frieze.com
634:2019-05-10
583:2019-05-10
558:2019-05-10
538:2019-05-10
534:(in Dutch)
512:2019-05-10
479:2019-05-31
446:2019-05-10
441:frieze.com
423:References
391:aesthetics
376:Documentas
299:René Block
174:Paramaribo
168:Early life
323:Documenta
219:sculpture
182:Amsterdam
70:Amsterdam
178:Suriname
121:Movement
681:ARTnews
578:ARTnews
349:at the
243:in 2023
186:Armando
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409:Legacy
327:Kassel
208:Career
155:, and
325:5 in
200:Death
89:Works
605:ISBN
163:Life
125:Zero
59:Died
41:Born
176:in
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