Age, Biography and Wiki
Keith Arnatt was born on 1930 in Mali, is a Keith Arnatt was British conceptual artist British conceptual artist. Discover Keith Arnatt's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 78 years old?
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78 years old |
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1930, 1930 |
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1930 |
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Date of death |
2008 |
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Nationality |
Mali
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We recommend you to check the complete list of Famous People born on 1930.
He is a member of famous artist with the age 78 years old group.
Keith Arnatt Height, Weight & Measurements
At 78 years old, Keith Arnatt height not available right now. We will update Keith Arnatt's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
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Keith Arnatt Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Keith Arnatt worth at the age of 78 years old? Keith Arnatt’s income source is mostly from being a successful artist. He is from Mali. We have estimated Keith Arnatt's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
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Not Available |
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Not Available |
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artist |
Keith Arnatt Social Network
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Timeline
Keith Arnatt (1930–2008) was a British conceptual artist.
As well as conceptual art his work is sometimes discussed in relation to land art, minimalism, and photography.
He lived and worked in London, Liverpool, Yorkshire and Monmouthshire.
Arnatt was born in Oxford.
He had studied painting at Oxford School of Art in the early 1950s and later at the Royal Academy Schools in London.
By the end of the 1960s Arnatt's work was associated with the new conceptual art movement.
A number of writers connected conceptual art with a general reductionist tendency in contemporary art of the time using phrases like ‘dematerialization’ and referring to the influence of minimalism and in particular the influence of Robert Morris in relating the presentation of art objects to the contexts of their viewing in a way that sought to activate those contexts.
From 1962 he taught at Liverpool and then, until 1969, Manchester.
At this time he was living in and working from a farmhouse on the Yorkshire/Lancashire border.
In 1969 he moved to Tintern in Monmouthshire.
Liverpool (the beach at Formby); the moors around his farmhouse in Todmorden, Yorkshire; and his garden surrounded by woodland in Tintern, are settings for works.
Arnatt took part in a number of influential exhibitions of conceptual art including 'Konzeption-Conception, Städtichen Museum, Leverkusen', 1969; 'Information', MoMA, New York, 1970; 'Umwelt-Akzente / Die Expansion der Kunst', Kunstkreis Monschau, 1970 and 'Art as Idea in England', CAYC (Centro de Arte y Comunicación), Buenos Aires, 1971.
Some works from this period, including Self-Burial in the version documenting the WDR televised Self-Burial (Television Interference Project) (1969), and Trouser-Word Piece (1972-89 version) are held in the Tate collection.
MoMA, New York has an Art + Project authorised time slice of the work 1220400 - 0000000 (1970).
The Henry Moore Institute in Yorkshire holds examples of early materials and the V&A Museum has examples of proposals.
Some materials that Arnatt gave to Robert Smithson in the form of documentation of proposals were donated to LACMA, Los Angeles by Nancy Holt.
Tate Archive has material relating to proposals by the artist including correspondence with the writer Barbara Reise.
From the mid-1970s onwards The Visitors (1974-6), Walking the Dog (1976-9), Gardeners (1978-9), A.O.N.B. (1982-5) and series such as Miss Grace's Lane (1986-7) and Howler's Hill (1987-8) make directly realist evidential references in their uses of settings.
Here, where Arnatt was using the camera in a first-order way and there has been some theorising over the extent of his influence on contemporary photographic practice, there still remains an overriding continuity in the form of analytic and self-disclosing interests in his work.
Other works, for example I have decided to go to the Tate Gallery next Friday (1971), and Art and Egocentricity – A Perlocutionary Act? (1971) were visual/textual hybrids and were intended to be realised in specific circumstances.
In late series like Painter’s Cans (1990), Notes from Jo (1991–95), and Labels Borrowed/Stolen (1993–95) Arnatt continued to investigate objects with something very close to the type of manipulative detachment originally shown in early works.