The Shift from Medium Specificity

Yinxuan Ma 1 The shift from medium unique(predicate)ity as the organizing principle for advanced graphics production to the notion of site and system nates be seen as a bold attemptit challenges the expectation for art marketing as well as criticizing consumer centric culture. During the period, artists may still be invested in the visual or pulpal aspects of art, however, thither is a new ace of prioritizing the conceptual ideas that reveal different understandings of art designate to work and even scene. It is inadequate for viewing audience to just focus on the presentation of the article, because only the words puke the objects screwing show the great shift.hotdog S expressa, an artist who embraced geometric abstract painting, shimmy his concentration from fascinating visual shock to simplified painting unionise by using minimalist strategies, when he created works, such as overhaul Fahne Hoch . Frank made minimal decision as to how to extract need from his format. Apart from this, Frank minimized the presentation of the seeming and aesthetic strategy. This flew in the face of the Modernist idea that painting imposes a fixed set of aesthetic limitations. (Frank Stella, Seltz and Stiles, P143) As I mentioned before, murmur Fahne Hoch (Franks Stella, Die Fahne Hoch 1959), which translate to English marrow Raise the Flag consists of black background and white lines, it seems like the painting has nothing to do with flag. However, the idea of naming the title Die Fahne Hoch tot ups from the Nazi marching song which emphasis the domination. Here, in the painting, the simulation of backgroundblack dominates the whole Yinxuan Ma 2 article and we can also easily follow the scheme of sketch and the symmetry traffic pattern he applied in painting.As the basic and surfaces argon so prevalent and unadorned that many critics of that time refused to accept them as art. But Frank argued that, his painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object and anyone who gets involved ample in this finally has to face up to the objectness of whatever it is that he is doing. (Frank Stella, Seltz and Stiles, P144) Im in favor of his argumentbecause accurate and right atomic number 18 not only adjectives for the art. The object he created is more straightforward and clear.Different from new(prenominal) forms, Frank wanted viewing audience to explore painterly detail, and his object did so by basic and plain presentation. Standing in front of the painting, viewing audience will see the symmetrical white lines across the black background, comparability to other paintings, Franks work is much more further and simply, the black and white article ask viewers to put their look close to the objecthow the two elements black and white coexist, and represent the come through of the article. Audience needs to switch their focus from what the painting trying to tell m e to what I see on the canvas.To Robert Morris, his preference is inscribe scarce not painting. Instead of using rich materials or scales to frame the article, Robert takes sculpture to maintain his particular insistence on the minimalismSculpture. For want of a better term, that grouping of work which does not present obvious education content Yinxuan Ma 3 or singularity of focus. (Stiles and Selz, P701) For example, the ungentle (Robert Morris, Untitled three L-beams, 1964) doesnt present obvious information content or singularity of focus.In the limited put, these L-beams are placed in sitting, lying and balance postures, like three Platonic Grace. (David Hopskin, P140). The presentation of the L-beams are casual and disordered, when viewers walk into the exhibition, the beams are just thereoccupy the limited space with different patterns. You can consider the sculpture as bench, arch or platform. Through the design of the beams Robert attempt to tone up Viewers eyes, bod ies and minds. (Hopskin, P143) What work does? Robert raised the question to his audience.The physical extension of Roberts sculpture chase the rule of the nature from which, viewers see the shadows, space and positive forms of the sculpture. What audience needs to do is that forget the limitation of the space, getting rid of the consanguinity among work and made, to read, to taste the sculpture with their original forms. The form used in present-day three-dimensional work can be found in much past art. Grid patterns show up in Magdalenian cave painting. Context, intention, and organization focus the differences.The similarity of specific forms is irrelevant. (Stiles and Selz, P703) If Robert Morris comes up with the idea of Anti Form, Eva Hesse rejuvenates the concept by exploring the movements hiding aspect and system. Her work Yinxuan Ma 4 Accession II (Eva Hesse, Accession II, 1967) shows difference between Frank Stella as well as Robert Morris because of the imperfection. The Accession was composed of perforated Minimalist auction blocks threaded with thousands of pieces of fictile tubing, which provided them with bristling interior lives. (Hopskin, P150).The cube, with crude inside and smooth outside, will make viewers think about gracious body, the skin may glossy and clean, but the hair, the internal organs, looking rough and chaotic. Eva minimizes the formal form of an object, what she emphasis here is literal nature of materials. Meanwhile, Evas objects are closely interrelated to biologic and human body because of her experiencefrom German Nazi to America, from fathers death to mothers suicide, and eventually, Eva suffered from cancer herselfthe pain and the sorrow come from body as well as psychological.Her effort is bold as she put social and political agenda aside, creating article to express every-day life. Male, female, jockey and sex. She minimizes the narration and frame, using basic, or raw material like fiberglass, rubber-base p aint to absorb the spectator in its tangles. As a feminist, Eva Hesse says, To me insurmountable to achieve an ultimate expression, the complete dedication seemingly only man can attain. (Stiles and Selz, P704) The object Studio view (Eva Hesse, studio view, 1965) can be accepted as representative article to her. There are lots of glut hung on the wall, circles, tire-shaped stuff and rope-shaped stuff.Among these objects, there is one that captured my eyesseveral round stuff inside string bags. Yinxuan Ma 5 From my point of view, the ball-shaped stuff definitely speaks out Evas objection of his domain. young-bearing(prenominal) can have work, female can say no to male. What is more significant, females can display their own achievement From this, viewers can find the self-confidence of Eva, comparing to male, her studio is also full of works and fortunate artworks. When audience admires Evas objects, the whole work or perfection should be ignored.Without fixed formula or logic al form, Eva Hesses articles come from her psychogenic decision and her detailed observation of daily life. Viewers need to put their eyes on the imperfection side of sculpture, thinking about the human body at same timenone of us are prefect, the blemish and shatter make our life real. To the artists, the color, the material or the forms are no more important, what viewers should notice and learn is the words undersurface the objects. To Frank, the conceptual art is broader than any other art, his geometric objects are specific and creative that speak out his idea.To Robert, his sculpture stay real and phenomenological, to Eva, the cube brings up the humanity and the imperfection of human in real life. As a viewer, what capture your eyes is no more bright color or fantastic frame, as they are minimized. Here, the simple lines, the curve and the bendable tubes can lead you to artists world, to hear what they say, to watch their experience, to explore the relationship between art and the idea they came up with. ARTH 2201 Art + Design Dr. Gloria Sutton Yinxuan Ma 11/13/2012