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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If we examine the manifestos and criticism supportive of Minimalist art we can see a similar symbiosis of form and value. 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. What am I looking at when I look at one of your works. Intervals between them are 9 inches and 6 inches respectively for the large and small stacks.
London, The Tate Gallery,p.
The Renaissance Society
We found that the phosphate crystal in many cases, was formed as a Hexagonal Bipyramid…. Of such gardens, Carl Andre has written:. We then included the letters IMC in the left panel to symbolize the fact that this company knew how to release this power to feed a hungry world. This requirement underscores the difficulties encountered in designing a trademark that is 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.
It is necessary to remember that the growth of enormous, multinational corporations proceeded almost unnoticed by the general public up to the early s, although certain artists and intellectuals had become increasingly aware of some of the more disruptive symptoms of this phenomenon, if not of the causes behind it.
Simply a large object made of geometric shapes? 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.
Lester Beall is a graphic designer specializing in the creation ov corporate identity programs. Reprinted in Minimal Art: Of such gardens, Carl Andre has written: Many corporate designers of the post-war period saw the phenomenon of the all-purpose logotype as a literal perceptual analogue to the social phenomenon of the multifaceted corporate conglomerate, and to a considerable extent, the new use of geometric, systematized modular configurations as logotypes was a manifestation of that analogy in their professional concern.
Instead the individual as a sensory perceptive apparatus faces erasure. However, in the development of a corporate design program a paradoxical phenomenon ercentness often exposed. How does the gestalt of a given configuration become shaped to a particular aesthetic intent sxulpture its location in a particular place?
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It reads in part: London, Whitechapel Art Gallery,n. In the February issue of Artforum, Morris notes:. The cases of the artists just mentioned reflect the development in their work of a material and compositional syntax whose programmatic application bears some striking resemblances to the practices and principles of corporate graphic design, especially the design of corporate identity programs. 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 The notion that a kind of symbolic investiture is implicit within the Minimalist object is not new to art criticism.
In the February issue of Artforum, Morris notes: Society of Typographic Arts, Chicago,separate folio. 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.
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. 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 art function as elements, and that different placements or arrangements of forms maintain or destroy the aesthetic viability of that context.
This sort of dual responsibility on the part of many corporate executives 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.
And it is in the context of such graphic design that much Minimalist art yields up the secrets behind its formal effects. 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. 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: Facebook Instagram Twitter Vimeo.
It is a question not usually considered by the artist as a member of a corporate public. For the Minimalists the revelatory potential inherent in their works is an order of value explicitly contained in the order of form.
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. This essay was first published in the catalogue for this exhibition. Who we are Visit us Contact us Join us.
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. In describing the uses of this symbol as a corporate identifier, Goldscholl comments:.
It reads in part:. In the 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.
Greenebrg of the means for increasing industrial production in the U. 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.
Objects and Logotypes | Publishing: Essay | The Renaissance Society
The issue for the corporate designer was how to relate a particular symbol to what the designer saw as a new corporate structure. But it is a belief which is infinitely corruptible, because of the confusion recentjess 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 viewer.
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.