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Phenomenology of Bucket

I have, in front of me, this amazingly tactile and geometrically perfect object to contemplate upon; A bucket, collected from a rubbish container. Its visual characteristics bring to mind the fundamentals of the late 1960’s minimalist sculptures. Judd would call this bucket a “specific object” and perhaps Morris would rename it as a “primary structure.” Is it possible to carry the bucket into the formal sculptural discussion as well as an ontological one?

Notes on “Reveries”

In ‘Paragraphs on Conceptual Art’, Sol LeWitt writes; “It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it’s out of his hands, the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.”

The above quote by LeWitt discussing the meaning of a work, at the same time, corresponds to Roland Barthes’ proposal of a change from the traditional concept of artwork into a new concept: art as “Text”.

Robert Smithson: The Death of the Art Object

Land Art, also known as Earth Art or Process Art, was born in the mid 1960’s in America where many post war artists were mainly identified with abstract expressionism. Artists who weren’t entirely satisfied with the norms of the time went on to criticise consumerist culture, embracing the techniques of mass production in creating art. Their endeavours resulted in artworks, as we all know as Pop Art. While conceptual artists were already questioning the established ideas about art objects and its authenticity, Land Artists proposed a new sculptural aesthetic. In the midst of this heavy discourse a lot of “artists found new alternatives to the gallery or museum by co-opting other than urban building types or by working in the open air.”