The White Cube Is Designed To Neutralize Philosophy Essay

The discolor pulley block Is Designed To Neutralize Philosophy EssayHeres the question In your throw quarrel, how would you describe the connections amongst the inclination of sportsmanlike(ness) and the themes in Buckinghams form?*If you penury to include references to our reading and conversation on Kirk Varnedoes lecture last week-where we cover topics ranging from how history is recorded, how knowledge is formed, and how we come to believe in or combining the blind we live with-please do.One paragraph.Buckingham forces the witness to investigate elevate into his wrench he wants us to actually become involved by devising us think and see beyond want being presented to us kinda than to precisely look at an image. As with other proceed we have discussed in class, Buckingham uses color (colorfulness and discolor/black) to comp be and contrast the foreg i with the present in the film production of Mary Wollst peerlesscraft. It is his way of cluing us on that there atomic number 18 two different worlds, adept as he did to present the ghost of Mary Wollst 1craft. He withal uses the ray of whiteness to lightened Wollstonecraft to convince us whether or not she is in the olden or present. He is able to use white(ness) to guide us finished his judgment of conviction- crapperd production.As I read done Chapter 3 regarding reductivism, I was having a incessant pull and push of Minimalism versus modernism. How is that one genre of operative john earn a squ are and assign a subject matter to it, then later another(prenominal) genre takes the same square and assigns a different moment to it, then claim to owe nothing to its predecessors? To me, this calls on the same conversations we have had several times in previous classes. Is it in reality a new blind because you are able to have keep of art critics and come up with your own vocabulary to bring a different meaning to a motion of art?Donald Judd claims to reject tenability as pa rt of the European philosophical tradition. This is how he explains the residual between his cast and traditional inductive reasoning. But Frank Stella says to balance piece? Is that not rational? The correlations between the two types of art beg the question isnt minimal art very frequently rooted in generalisation modernism? It seems to me that minimalist were just a ego-proclaimed development of modernism.Judd and other minimalists artisan claim they wanted to catch rid of the hands-on ethic of plume they wanted to part rid of the nous that the character of the art resides in the tinge of the creative person compared to abstract expressionist Jackson pollock who stomped on a piece of paper and rubbed cigarettes in to it who affirmed that the pictorial matter was an object in the world, not a window onto anything else. This is when I began to better understand the difference in the two genres.The minimalist opposed the cult of the trend and attempted to remove t he manner of composition from their fashion. To that end, they tried to expunge all signs of the creative persons guiding hand or thought processes all aesthetic decisions from the imposition of the object. For Donald Judd, this was part of Minimalisms attack on the tradition of relational composition in European art quite an than the parts of an artwork being carefully, hierarchically distinguished and balanced, he tell they should be just one thing after another. examine wave Duchamps ready-makes provided all-important(a) inspiration for the Minimalists. His example suggested an approach to sculpture that emphasized fabrication and industrial materials over the craft techniques of most modern sculpture.Much of Minimalist aesthetics was shaped by a reaction against Abstract Expressionism. Minimalists wanted to remove suggestions of self-expressionism from the artwork, as well as any illusions. The Minimalists also sought-after(a) to erase distinctions between creates an d sculptures, and to make instead, as Donald Judd said specific objects.The Minimalist opposed the cult of the gallery and synopsis of Inside the White CubeThe gallery quad is the first interaction between the spectator and the workman. pillage white fence ins were ideal for presenting a painting. Because of its simplicity, a white wall is seen as neutral and supposedly indispensable for placing each painting. However, what a white wall does to a Baroque or easel painting, is it actually transforms it into a modernistic one, just as framing a Baroque or modernist painting and placing it in Le Salon converts it into a tableau.The white cube is designed to even asideAnother value of the white cube was a social one. Readymade as invented by Duchamp totally depend on the special social location of a gallery space. Reliance on the social power of a gallery space can lead to anything goes. Yet if a gallery space is considered a sacred place intended further for art, than anything that is located there cannot be anything except art. When you put something into a gallery, it transforms the thing into a picture of itself. The intention ofTo fully understand the nature of how the viewer interacts with a piece of art it is essential to understand the dynamics of how the work is presented to the viewer. He talks well-nigh the mall and how the white cube gallery determines how the midpoint behaves. The eye urges the body around to provide it with information the body becomes a data gatherer. The eye was capable of experiencing art in a free-hearted and detached way. The spectator, on the other hand is unable to distinguish the difference between real space and art space in the white cube gallery because they have become blurred into one another and the walls of the gallery itself. Such a spectator is prone, he believes, to sensation and whimsy and as such experiences not plainly art but their own intelligence of self as something fractured.The eye appears a s the disembodiment faculty that relates whole to formal visual means, while the spectator constitutes the attenuated and bleached-out life of the self from which the eye goes forth and which, in the meantime, does nothing else. The bodies of the visitors become unnecessary. You can only gaze at the framed spaces in the gallery space. Consequently, it is only the eye that interacts directly with the artwork. One has to teach the eye how to palpate those spaces. Frames also alleviate this separation into two realities the distant relation of a fixed viewer to a framed view. The framed easel on the wall assists the spectator to order herself in space it indicates the place where one should stand, look at, or conclude from touching. One is not allowed to touch the sacred objects, the artworks. Touch is directed and talk terms only through the eye.ODohertys main concern is the human relationship between the white cube is where the object sits, the surrounding space and the effec t or the work that the combination of these elements impose onto the viewer. By bringing maintenance to the arrangement in which works are exhibited and the influence on the spectator, context becomes content.Another constituent that ODoherty suggests bought active a new way of looking art isCourbets single Salon des Refusees outside the Exposition of 1855. ODoherty states that this was the first time an artist had toconstruct the context of his work. It is to say the artist had to set about displaying his work in such a way that the placing and hang of the pictures influenced the meaning of what the artist was attempting to say with his art. This was loftyly significant as it highlighted the importance of how a work is displayed affects the way in which its viewed. For example displaying the Mona Lisa on the floor would give the painting a different meaning than placing it, in its own special room.ODoherty defines the chaste gesture as a singular artistic action, an individu alist, daring act. The triple-crown gesture created a narrative became a story by ever-changing history. He believes that these gestures always had two audiences, one present and another one not present, which, as he writes, is usually us. We, as this second audience, are looking back at the eventof a effect as a historical fact, an occurrence.ODoherty further more says that the original audience is usually not appreciative, practically nervous, not at all pleased. It is only in retrospect that we hornswoggle to appreciate the gesture. All these gestures are transformations of the given situation in one way or another. What makes them potent, I believe, is that they are stop signs or rather they are the stops themselves in the train of events, interruptions in the business as usual.The gallery gestures start with Duchamps, continue on with Yves Klein, Armand, Daniel Spoerri, Andy Warhol and Kaprow and many an(prenominal) others. Many of these gestures can be described as parody , mocking the art business, but many of them really challenged the spectator, the gallery space and what is meant by art and showing art. there are several categories of gestures those that question the gallery space altogether are of course in the minority. ODoherty points out that at least the American forefront never really questioned the gallery space as an idea, except for one brief moment when artists did their performances and events in the landscape and only brought photos back to the gallery.Summary of Pictures of Nothing- Chapter 4Late 1960s is when the urge to escape catergories by artist becomes all the more difficult itself because but minimalism itself had become a category. This installation of minimalist traditions happened very fast. Anti institution makes want to go past from any type of object. graphicsist wanted to get away from any types of collectible object. Which makes sculpture dominant. It turned out to be the only non of the above catergory. Painting was only paintying, sculpture could include video installation, land works, performance, etc.. it was constantly transforming itself and was flexible in the way painting could not be.The idea of a generation of artist who absorb the formal term of minimalism but challenge the basic princibles. Twe sameg image reconigtion became important. Shiparo installed from the 70s compared to morris is frank mostly by scale. The gallery space isnt about blank kinestectic any longer it becomes a place for imagination and stimulation of metaphorizationImageless abstract entity became a lot more imitational. Basic propertyies extracted from pollaock drip paintings. Judd argued the paintings had a greater sense of simplicity or wholeness Directness of which becomes a part of the are, simplicity wholeness order process materials become the watch workds for the new generation of artistsPresent and forthcoming was linked to the deep past. Heiser stated we were living at the end of time. complex 1 had been made in the dessert and the angle was designed to forefend necluear bomb. He wanted to collapse the idea of timeMinimalist idea of reducing internal relationship the work became redirected of the relationship of the person to the object. The sense of space became extrapolated beyond the gallery. Heiser was key in moving out into much broader canvses. Like making huge circles in the deserts. Double negative made a huge mark a vast space. All about bedded layers of structure, represents stratified time. Vs. the overview which shows it as a merge with a unified simplicity man made absolute against the geolocial forces of the canyon. Had different experience through close up and far away views. Clarity of the overview vs the caois of the close up viewStaged collision between order and disorder. The idea of order. Cannot simply be. Evident declaration of process. The new left compared to old left. Blue discover ethic. Materials (103) Smithson piles dirt on shed until it colla ps. Concerns with weight. Not just meaning attaches itself but simple certainties become charges with ambiguities. Abstraction cant stay thin and out of catergories but it can revitalis new ideas of ourselves and our time..Summary Chapter 5Although abstraction tries to be pictures of nothing, it constantly could be a picture of something. Rauschenbergs Factum 1 and Factum II were important to the uniqueness of the moment in abstract expressionist painting. Lichtenstein act more aggressively in works such as prominent Painting No. 6. Abstract expressionism becomes reduced by Lichtenstein. His satires and comments run end-to-end his career, with two different meanings. One, he is engaged by the notion that you cannot get away from the history of style. Second is that all representation is at base abstract. He is engaged in both(prenominal) sides and does not want to let go of either representation or abstraction.Olderburg wants to bring modernism out of its closet and into the pu blic. He believed it was ill served to by idealism. Both Olderburg and Lichenstein hold the irony that bad faith is a necessary ingredient for a ripe society. Pop art jokes are less near and more serious than they seem admiration of abstraction and at the same time deep suspicious of it.Andy Warhol has found the nerve of the good/bad faith problem. He uses and understands to some extent the language of abstraction. His most direct insult to abstract painting is represented by his Oxidation Painting of 1978 which he pisses on Pollock. With canvases on the floor he urinates on them in an exaggerated reproduce of Pollocks drip paintings. Where Lichtenstein tends to be concerned in economy and reduction, Warhol is an artist of spit, splash, blot, excess. He is very interested in the graininess of photography.Halley isnt interested in the ambiguity of abstraction. He believes that all abstraction is coded representation of power. Taafe is also is against abstraction but in a diffe rent way. He puts to work the idea of revisiting high decoration with intent to make it low decoration.Richter has gambits between abstractions and representation. He literally waters down Stella Both Warhol and Richter, it is blur and smear that obscures rather than makes things clear. Comparing to Johns, the whole idea that destroying order is the same thing as producing it.Twombly expands the exigent gesture to the scale that Pollock had with his blackboard work. Everything that Twombly achieves, he achieves by the negation, by distancing of himself from Pollock, by the exact inversions of what Pollock is.Johns too take a pluck at Pollock. He made his living debunking abstraction. Just as Twomblys repetition speaks of expressionism, so is Johns gesturalism. He has to establish a system in order to cancel or bury it. The order itself is hardly as important as the conclusion of its vulnerability or fragility. He obsessively worked the surface with personal marks.These aforementi oned artists are speaking about art through art by their knowing relationship to that tradition. It is a relationship of negation. It is a relationship to tradition that involves the acceptance of traditions constraints at the same time that is subverts and reacts against them. With these artists you have an abstraction saturated with skepticism, saturated with knowing, an abstraction that proves that abstraction can be knowing and still have meaning.Chapter 6De Kooning abstraction gives go on to a new kind of life in his works by compacting them. His work misrepresented the dichotomy between abstraction and representation. Within his work such as the Women and early figurations, he shows the border between abstraction and representation wasnt something untouchable but rather something transgressive. Agnes Martin is the opposite of de Kooning. His works are at the other end of abstraction. His work is about delicacy of touch and tint. Martins art is all about the experience on the part of both the artist and the observer. In contrast, Robert Ryman is all painting he is an abstractionist who is interested in imagery and in the nature of painting. His art is about constant restlessness and is never about perfection. Unlike Clement Greenberg, who believed there was an pith of painting. Ryman is sure that there is no essence at the bottom that painting constantly needs to be changed.Brice Mardens work is a good demonstration of pulling together the contemporary abstractions of Johns and Pollock. He tried to live with the legacies of Pollock as a great abstract artist and Johns as model painter by mixing and blending what they both stand for. Gombrich believed that representation is a matter of solving dilemmas and is neatly summarized in his drawing. Gombrichs interest seems to be primarily in rendering. He believed strongly in the nature of visual representation and realism. Pollock finds one translation in Klein through the acts of performance yet a completel y different translation inRichard Serra. rather of painting on a canvas, he throws hot lead into a corner. What was refined in Kleins interpretation becomes industrial with Serra.Many artists unpack many meanings from Pollock, however, the intention of what brings an artist to the canvas does not control meaning approximately as much as does the material existence of the picture itself. The data-based dimensions of abstract art- its scale, materials, method of fabrication, social context, and tradition are crucially important to our understanding of it. Abstract art is a symbolic game and it is akin to all human games you have to get into it, risk and all and this take certain act of faith a faith in possibility, a faith in not knowing.Practically Nothing Light, Space, and the Pragmatics of PhenomenologyIn the exhibitions catalogue Schuld writes, does not deal with light space as media as much as it deals with the participating subjects personal adjustment In this essay, Schuld g rounds the work of Irwin, Turrell, Orr and Nordman in the phenomenological philosophy of Maurice Merleau-Ponty. This essay explores the Light and Space movements giving its grow in Minimalism. Merleau-Ponty sought to establish a primacy of perception with particular interest to Light and Space art. Irwin and Turrell experimented with psychologist Ed Wortz as a part of Maurice Tuchmans Art and Technology Program. In these experiments, scientists and engineers were paired with artists in tests that involved sensory exit, in particular within an anechoic chamber, a soundproof structure used for astronautical and psychological research. Irwin, Turrell, Wheeler, Nordman and Orr all spent time in the chamber, occasionally enhancing it further by light proofing the space. The experience of deprivation training attributed an increased sensory awareness. Light and Space art does not deal with lightand space as media as much as it deals with the participating subjects personal perceptual adjustment by extending ones own experience in the extremes of sensory deprivation experiments. Irwin, Turrell, Wheeler, Nordman, and Orr bring phenomenology into practice by creating situations that act as experiential snares, capturing attention through disorientation.Work and WordAdrian Kohn raises practical questions about writing about California Light and Space art, much of which frequently deals with language. He questions the insufficiency of verbal language to approach abstraction. According to Kohn, language falls mindless of communicating the obscure with much clarity. He calls attention to the vagueness of artists statements that make the aflame qualities of the artwork take precedence. This same problem plagues Light and Space art as well as other works that will also pose a challenge to photography. Words inevitably catch up to art and take hold. Belles thinking of his canvas support as a geometric illusionary volume and his notion that panes of glass can emotional state soft prompt you to stop and assess the validity of those formulations. While words may obscure arts strangeness at first, their failings, when noticed, restore it.http//www.theartstory.org/movement-minimalism.htmhttp//www.all-art.org/art_20th_century/modern_art/abstract%20art5.htmhttp//en.wikipedia.org/wiki/Brian_O%27Dohertyhttp//www.guardian.co.uk/artanddesign/2008/sep/20/art1