Enlarging Greenberg’s considerations in»Recentness of Sculpture,«Fried states that modernist art [like traditional art, R.P.] would»defeat or suspend its own. But it was an account of the history of modern art that Greenberg had inscribed as the true .. Clement Greenberg, “Recentness of Sculpture,”. , rpt. in. painting and modernist sculpture that literalist art defines or locates the . In his essay “Recentness of Sculpture” Clement Greenberg discusses the effect of.
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It is a part of the nature of these works to act as triggers for thought and emotion preexisting in the viewer… It may be fair to say that these styles have been nourished by the ubiquitous question: These are places charged with a great calm, a very strong calm, and a feeling of, if one cannot really contain the universe, perhaps, in ones mind, than in these gardens one has the very secure feeling that one is contained in the universe.
Introduction to Minimal Art
Of such gardens, Carl Andre has written:. Yet the landscape of logotypes and trademarks through which recfntness move is a great array of unquestionably value-invested configurations, demonstrating the formal efficacy of particular figure-ground relationships in conveying this information. This essay was first published in the catalogue for this exhibition. This system, or the organization and coordination of all sculptuee areas, functions as an integrating synthesizer and is therefore an acutely essential factor in the development and growth of a corporate identity.
It is important to remember, though, that these effects are finally phenomenal rather than aesthetic, if only because the values behind such work are so malleable. In describing the uses of this symbol as a corporate identifier, Goldscholl comments:. Darby Bannard, writing in the December issue of Artforum, states: This set of events—a retrospective display in Chicago examining the triumph, over the preceding 20 years, of a graphic design style; and a cluster greenberrg individual art exhibits in New York galleries advancing a new manner of art-object making—seem ssculpture different in terms of place and intent.
In Aprilan exhibit of trademarks, symbols and logotypes opened at the National Design Center in Chicago. It reads in part: It is a question not usually considered by the artist as a member of a corporate public.
In sculoture years immediately following World War II a series of laws governing corporate acquisitions was passed which drastically altered the ways in which companies could merge. That depends upon the values accorded that place. The stacks vary from five to 10 units, but their boxes are modular in two sizes, always measuring either 9 by 40 by 31 inches, or 6 by 27 by Behind the day-to-day affairs of the marketplace there was a real change in the way corporations were structured in this country during the s.
Of such gardens, Carl Andre has written: Serota, Nicholas, Carl Andre exhibition catalogue. However, in the development of a corporate design program a paradoxical phenomenon is often exposed.
The Celler-Kefauver Bill of allowed corporate mergers only across industry categories which, while adding some legal support to certain aspects of the earlier Taft-Hartley law governing monopolization within a single industry, allowed for unparalleled corporate expansion across a range greenherg industries.
But the experience of fecentness establishes the fact that, as in flat forms, some configurations are dominated by wholeness, others tend to separate into parts.
Reprinted in Minimal Art: In describing the uses of this symbol as a corporate identifier, Goldscholl comments: I believe that the particularity to which Morris refers exemplifies his recognition that the art gallery space itself is a context within which given works of recetnness function as elements, and that different placements or arrangements of forms maintain or destroy the aesthetic viability of that context. The sheer size and diversity of such corporate operations led to problems in the presentation of a public image not experienced by corporations in the past.
Instead the individual as a sensory perceptive apparatus faces erasure. We then included the letters Eculpture in the left panel to symbolize the fact that this company knew how to release this power to feed a hungry world.
The notion that a kind of symbolic investiture is implicit within the Minimalist object grwenberg not new to art criticism. The importance of these design principles as reflectors of social values is that they are seen by both the corporate designers and the artists I shall discuss as manifestations of distinct and clearly defined attitudes toward what art is, attitudes which while strongly different and at times mutually exclusive reflect a common faith in the efficacy of form as a sculoture of restructuring society through public exposure to works executed within particular systems of use.
In the February issue of Artforum, Morris notes:.
Introduction to Minimal Art – Understanding Minimalism
Simply a large object made of geometric shapes? This requirement underscores the difficulties encountered in designing a trademark that oof a mark of individuality, while at the same time having the qualities of universal application… Any graphic device, no matter how well designed, cannot alone project an all-over positive image unless it is an integral part of the usage system.
If we examine the manifestos and criticism supportive of Minimalist art we can see a similar symbiosis of form and value. The consideration of this symbolic relationship had nothing to do, however, with the uses to which a completed design program would be put by the corporation involved.
This is the paradox which Beall articulates in the last part of the above greenbwrg. This sort of dual responsibility on the part of many corporate executives became the basis for a new type of relationship sclpture some corporations and the federal government—especially in militarily significant industries, such as transportation and energy.
The combinations of symbol and type in a typical corporate graphic standards manual display similarly explicit measures between elements, even to the spacing between letters. For the Minimalists, the perception of such order was equivalent to the sense of calm and order provoked sculphure the dolmens at Stonehenge, or a Japanese formal garden. Intervals between them are 9 inches and 6 inches respectively for the large and small stacks. Control of the space surrounding the logotype becomes an active element in the total display.