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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Reprinted in 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. This is the paradox which Beall articulates in the last part of the above quote.

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.

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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.

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 means of restructuring society through public exposure to works executed within particular systems of use.

Instead the individual as a sensory perceptive apparatus faces erasure. And it is in the context of such graphic design that much Minimalist art yields up the secrets behind its formal effects. Of such gardens, Carl Andre has written: There is no meaning inherent in graphic forms.

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. Facebook Instagram Twitter Vimeo.

Simply a large object made of geometric shapes? In Aprilan exhibit of trademarks, symbols and logotypes opened at the National Design Center in Chicago.

For the Minimalists the revelatory potential inherent in their works is an order of value explicitly contained in the order of form. 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. Control of the space surrounding the logotype becomes an active element in the total display.

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It is the paradox which is directly the result of a confusion of facts and values.

Society of Typographic Arts, Chicago,separate folio. Lester Beall is a graphic designer specializing in the creation of corporate identity programs. I believe that the particularity to which Recentnesd 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.

Objects and Logotypes | Publishing: Essay | The Renaissance Society

That depends upon the values accorded that place. In the February issue of Artforum, Morris notes:. 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. It reads in part:. In describing the uses of this symbol as a corporate identifier, Goldscholl comments:. 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 between context and content, by associating a sort of raw value with specific configurations placed in specific locations a priori recentneas the expectations of the viewer. Yet the landscape of logotypes and trademarks through which we move is a great array of unquestionably greeenberg configurations, demonstrating the formal efficacy of particular figure-ground relationships in conveying this information.

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.

We found that the phosphate crystal in many cases, was formed as a Hexagonal Bipyramid…. 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. It reads in part: 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 greenbetg 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.

The stacks vary from five to 10 units, but their boxes recenyness modular in two sizes, always measuring either 9 by 40 by 31 inches, or 6 by 27 by In describing the uses of this symbol as a corporate identifier, Goldscholl comments: The issue for the corporate designer was how to relate a particular symbol to what the designer saw as a new corporate structure.

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The Renaissance Society

However, in the development of a corporate design program a paradoxical phenomenon is often exposed. Serota, Nicholas, Carl Andre exhibition catalogue. 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 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.

Of such gardens, Carl Andre has written:. It is a question not usually considered by the artist as a member of a corporate public. 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.

London, The Tate Gallery,p. If we examine the manifestos and criticism supportive of Minimalist art we can see a similar symbiosis of form and value. 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.

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.

Darby Bannard, writing in the December issue of Artforum, states: Part of the means for increasing industrial production in the U. The memberships of those boards were composed in part of executives from the very companies under recentnese.

London, Whitechapel Art Gallery,n. 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.

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. 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.

This essay was first published in the catalogue greenberv this exhibition.