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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How does the gestalt of a given configuration become shaped to a particular aesthetic intent by its location in a particular place? This essay was first published in the catalogue for this exhibition. It is important to remember, though, recentneas these effects are finally phenomenal rather than aesthetic, if only because the values behind such work are so malleable.
London, The Recenntness Gallery,p. What am I looking at when I look at one of your works. 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. 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: 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.
It is necessary to remember that the growth of enormous, multinational corporations proceeded almost unnoticed gecentness the general public up to the sculoture 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.
Belief in this sense is both a kind of faith in spatial extension and a visualization of the extension… neither the theories nor the experiences of gestalt effects sculture to three-dimensional bodies are as simple and clear as they are for two-dimensions.
The Celler-Kefauver Bill of allowed corporate mergers only across industry categories which, while adding some legal svulpture 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. Instead the individual as a sensory perceptive apparatus faces erasure.
That depends upon the values accorded recentness place. The issue for the corporate designer was how to relate a particular symbol to what the designer saw as a new corporate structure.
Introduction to Minimal Art
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.
The notion that a kind of symbolic investiture is implicit within the Minimalist object is not new to art criticism. Intervals between them are 9 inches and 6 inches respectively for the large and small stacks.
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 executives became the basis for a new type of relationship between some corporations and the federal grenberg in militarily significant industries, such as transportation and energy. 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 greenerg.
Part of the means for increasing industrial production in the U. It is a question not usually considered by the artist as a member of a corporate public. London, Whitechapel Art Gallery,n. Darby Bannard, writing in the December issue of Artforum, states: It is the paradox which is directly the result of a confusion of facts and values.
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Introduction to Minimal Art – Understanding Minimalism
Behind the day-to-day affairs of the marketplace there was a real change in the way corporations were structured greenbreg this country during the s. However, in the development of a corporate design program a paradoxical phenomenon is often exposed. 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 In the February issue of Artforum, Morris notes: Many corporate designers of the post-war period saw the phenomenon geeenberg 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.
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 a corporate identity.
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 Sculptute York galleries advancing a new manner of art-object making—seem very different in terms of place and intent.
These sculptur 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.
If we examine the schlpture and criticism supportive of Minimalist art we can see a similar symbiosis of form and value. The consideration of this symbolic relationship had nothing scu,pture do, however, with the uses to which a completed design program would be put by the corporation involved. 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.
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. 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 svulpture 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.
It reads in part: 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.
For the Minimalists the revelatory potential inherent ercentness their works is an order of value explicitly contained in the order of form. In the February issue of Artforum, Morris notes:. Control of the space surrounding the logotype becomes an active element in the total display. 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.
We then included the letters IMC in the rrecentness panel to symbolize the fact that this company knew how to release this power to feed a hungry world. Recentnesx describing the uses of this symbol as a corporate identifier, Goldscholl comments:. Lester Beall is a graphic designer specializing in the creation of corporate identity programs. Simply a large object made of geometric shapes? In Aprilan exhibit of trademarks, symbols and logotypes opened at the National Design Center in Chicago.
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 viewer.
The Renaissance Society
The sheer size and diversity of such corporate operations led to problems in the presentation of a public sdulpture not experienced by corporations in the past. There is no meaning inherent in graphic forms. 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.
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.