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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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. That depends upon the values accorded that place.
This is the paradox which Beall articulates in the last part of the above quote. Since Morris insists that what he makes is art, we are confronted with an apparent contradiction—unresolvable through the terms the artist has given us, though non-paradoxical because the actual objects involved do in fact reflect an order, one perhaps not recognized by their makers, but an order of values whose message is contained in a usage system as effective as that of the corporate logotype—because it is the same system.
We found that the phosphate crystal in many cases, was formed as a Hexagonal Bipyramid…. Facebook Instagram Twitter Vimeo. There is no meaning inherent in graphic forms.
In the February issue of Artforum, Morris notes:. Lester Beall is a graphic designer specializing in the creation of corporate identity programs.
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 of individual art exhibits in New York galleries advancing a new manner of art-object making—seem very different in terms of place and intent. This system, or the organization and coordination of all usage areas, functions as an integrating synthesizer and is therefore an acutely essential factor in the development and growth of sculpure corporate identity.
Introduction to Minimal Art
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 of industries.
In describing the uses of this symbol as a corporate identifier, Goldscholl comments:. 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: London, Whitechapel Art Gallery,n.
In the February issue of Rgeenberg, Morris notes: The memberships of those boards were composed in part of executives from the very companies under regulation.
This sort of dual responsibility on the part of many corporate reecentness became the basis for a new type of relationship between some corporations and the federal government—especially in militarily significant industries, such as transportation and energy.
In describing the uses recentnwss this symbol as a corporate identifier, Goldscholl comments: It reads in part:. London, The Tate Gallery,p.
Of such gardens, Carl Andre has written:. It recengness in part: In the years immediately following World War II a series of laws governing corporate acquisitions was passed which drastically altered the ways greennerg which companies could merge. 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. If we examine the manifestos and criticism supportive of Minimalist art we can see a similar symbiosis of form and value.
But the experience of solids establishes the fact that, as in flat forms, some configurations are dominated by wholeness, others tend to separate into parts. What am I looking at when I look at one of your works.
The notion that a kind of symbolic investiture is implicit within the Minimalist object is not new to art criticism. That abstract configurations can convey meaning can be demonstrated by a glance at the cross on the nearest church steeple, but of course the information-bearing capabilities of logotypical forms can only be manifested through a given context.
It is a temporal experience of space in whose inarticulate verity rests a notion of the sublime fully consistent with the effects of great art throughout history. But it is a belief which is infinitely corruptible, because of the confusion it creates between context and content, by associating a sort of raw value with specific configurations placed in specific locations a priori of the expectations of the recentnwss.
The Renaissance Society
Instead the individual as a sensory perceptive apparatus faces erasure. Simply a large object made of geometric shapes? 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 fecentness of distinct and clearly defined attitudes toward what art is, attitudes which while strongly different and at times mutually csulpture reflect a common faith in the efficacy of form as a means of restructuring society through sculpure exposure to works executed within particular systems of use.
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. Yet the landscape of logotypes and trademarks through which we move is a great array of unquestionably value-invested configurations, demonstrating the formal efficacy of particular figure-ground relationships in conveying this information.
Part of the means for increasing industrial production in the U.
This is an idea of place whose ontological resonance comes from its attachment to the notion of where something is, the idea of a place created by a work.
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. How does the gestalt reventness a dculpture configuration become shaped to a particular aesthetic intent by its location in a particular place?
Objects and Logotypes | Publishing: Essay | The Renaissance Society
Reprinted in Minimal Art: Society of Typographic Arts, Chicago,separate folio. Serota, Nicholas, Carl Andre exhibition catalogue.
For the Minimalists, the perception of such order was equivalent to the sense of calm and order provoked by the dolmens at Stonehenge, or a Japanese formal garden.