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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Objects and Logotypes | Publishing: Essay | The Renaissance Society
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 scultpure the causes behind it.
For the Minimalists the revelatory potential inherent in their works is an order of value explicitly contained in the order of form.
The notion that a kind of symbolic investiture is implicit within the Minimalist object is not new to art criticism. But it is a belief which is infinitely corruptible, because of the confusion it creates reventness 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.
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Introduction to Minimal Art
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. How does the gestalt of a given configuration become shaped to a particular aesthetic intent by its location in a particular place?
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 reventness 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 means of restructuring society through public exposure to works executed within rfcentness systems of use.
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. What am I looking at when I look at one of your works.
That depends upon the values accorded that place.
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. It is the paradox which is directly the result of a confusion of facts and values.
It reads in part: There is no meaning inherent in graphic forms. Instead the individual as a sensory perceptive apparatus faces erasure. And it is in the context of such graphic design that much Scculpture art yields up the secrets behind its formal effects. 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: Lester Beall is a graphic designer specializing in the creation of corporate identity programs.
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.
Belief in this sense is both a kind of faith in spatial extension and a visualization of the extension… neither the theories ov the experiences of gestalt effects relating to three-dimensional bodies are as simple and clear as they are for two-dimensions. 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.
Control of the space surrounding the logotype becomes an active element in the total display.
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Serota, Nicholas, Carl Andre exhibition catalogue. It reads in part:. It is a question not usually considered by the artist as a member of a corporate public. If we examine the recejtness and criticism supportive of Minimalist art we can see a similar symbiosis of form and value. 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.
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 essay was first published in the catalogue for this exhibition.
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Of such gardens, Carl Andre has written: However, in the development of a corporate design program a paradoxical phenomenon is often exposed. That abstract configurations can convey meaning can be recentnrss 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 greenbeerg given context.
The memberships of those boards were composed in part of executives from the very companies under regulation. 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. In describing the uses of this symbol as a corporate identifier, Goldscholl comments: