ka cheong chiang 110107681 sze ching phoebe wong 110046699

WHY AND HOW MOVEMENT AND EXPERIENTIAL ENGAGEMENT WAS INCORPORATED? WITHIN MODERNISM ART PRACTISE, WHY WAS ABSORPTION DEEMED THEATRICAL AND, THUS, PROBLEMATIC?

Ka Cheong Chiang 110107681Sze Ching Phoebe Wong 110046699

WHAT IS MINIMAL ART? A form of abstraction (painting or sculpture) Can also be called the ABC art, literal art, reductivism and rejective art Began in 1950s and reached its peak during the mid 1960s – mid

1970s Key characteristics of minimalism:

Clarity and simplicity of form No narrative No anecdotal content or references

HOW THE MOVEMENT AND EXPERIENTIAL ENGAGEMENT WAS INCORPORATED? Richard Serra’s qualities in sculpture - Pictorial

forms Titled Arc – Self-aware amongst the passing

viewers Serra’s work refers greatly to Smithson

Experiences varies depending on perspective Element of parallax

Peter Collins – “Changing ideals in Modern Architecture” 1970 – rise of illusionistic effect

WHY THE MOVEMENT AND EXPERIENTIAL ENGAGEMENT WAS INCORPORATED? Key figures – article Jeffrey Kipnis “ A personal

reflection on the architecture of Herzog & de Meuron” Hdm’s work – ornament and Minimalism

Provides effortless infiltration of architectural conflicting categories

WHY THE MOVEMENT AND EXPERIENTIAL ENGAGEMENT WAS INCORPORATED? Rem Koolhaas – undeniable beauty and proponent

Unencumbered by historical/ formal typology

WITHIN MODERNISM ART PRACTICE, WHY WAS ABSORPTION DEEMED THEATRICAL AND THUS, PROBLEMATIC? Michael Fried – Art and Objecthood

Influential and controversial attack on minimalist sculpture

Distinguishes minimal art as literalist art Past literalist art ambiguous towards sculpture and shape

Question arised: “What is it about objecthood as projected and hypostatised by the literalists that makes it, if only from the perspective of recent modernist painting, antithetical to art?”

WITHIN MODERNISM ART PRACTICE, WHY WAS ABSORPTION DEEMED THEATRICAL AND THUS, PROBLEMATIC? Michael Fried-

Plea for a new type of theatre and with theatre now as the negation of art

Cites: object to be main focus of the system , beholder the focus of situation

Notes: Greenberg (Founder of analysis) – theatrical effect is basically stage presence

3 reasons of theatrical 1) Size of the work 2) Entities of everyday encounter 3) Meaning of the object

WITHIN MODERNISM ART PRACTICE, WHY WAS ABSORPTION DEEMED THEATRICAL AND THUS, PROBLEMATIC? Michael Fried

Anthropomorphism – Centre of practice and theory of literalist

Claim- not proven or substantiate but true to his view Theatre and theatricality in conflict – modernist

art and paintings 3 suggestions

1) Success or the existence of arts - increased depending on its capability to overcome theatre

2) Degeneration of art as it reaches the condition of theatre

3) Concepts of quality and value - the centre of art and the meaning of it

WITHIN MODERNISM ART PRACTICE, WHY WAS ABSORPTION DEEMED THEATRICAL AND THUS, PROBLEMATIC? Michael Fried

Emphasizes the experience, persists in time – essential centre to literalist art

Literalism and theatre share certain characteristics Characterised virtual universality in sensibility perverted by

theatre

End quote: Presentness is grace

CONCLUSION Contributors

Richard Serra, Robert Smithson, Robert Morris, Peter Collins, Herzog & de Meuron and Rem Koolhaas etc.

Devise and improve upon each other where allowance for both movement and experiential engagement to be incorporated

Michael Fried – Minimal art deemed theatrical Turning point in history marked by scholars Minimalism first deemed/switched to newer, more

modern views

Led to believe as the following of elements: Simple in design or material Constant change in view and perspective regardless of

object Therefore most simplicity in form but not experience

REFERENCE Battcock, Gregory. Minimal art: a critical anthology. New York: E.P. Dutton, 1968 Bois, Yve-Alain., and Shepley John. “A Picturesque Stroll around Clara-Clara.” October 29, no

Summer (1984): 32-64. Colpitt, Frances. Minimal Art: the critical perspective. Seattle: University of Washington Press,

1993. Fried, Michael. Art and objecthood: essays and reviews. Chicago: University of Chicago Press,

1998. Kipnis, Jeffrey. “The Cunning of Cosmetics: [Herzog & De Meuron].” Du, no. May (2000): 6-9. Marzona, Daniel. Minial Art. Koln: Taschen, 2006.

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