Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
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Robert Morris. Four Mirrored Cubes. 1965.<br />
hard Richter's glass panes in metal frames, both emerging between 1965 and<br />
1967. Or, as in the early work of Robert Barry (such as his Painting in Four P<strong>art</strong>s,<br />
1967, in the FER-Collection), where the square, monochrome, canvas objects<br />
now seemed to assume the role of mere architectural demarcation. Functioning<br />
as decentered painterly objects, they delimit the external architectural space in a<br />
manner analogous to the serial or central composition of earlier Minimal work<br />
that still defined internal pictorial or sculptural space. Or, as in Barry's square<br />
canvas (1967), which is to be placed at the exact center of the architectural<br />
support wall, a work is conceived as programmatically shifting the reading of it<br />
from a centered, unified, pictorial object to an experience of architectural con-<br />
tingence, and as thereby incorporating the supplementary and overdetermining<br />
strategies of curatorial placement and conventions of installation (traditionally<br />
disavowed in painting and sculpture) into the conception of the work itself.<br />
And thirdly--and most often--this transition is performed in the "simple"<br />
rotation of the square, as originally evident in Naum Gabo's famous diagram<br />
from 1937 where a volumetric and a stereometric cube are juxtaposed in<br />
order to clarify the inherent continuity between planar, stereometric, and volumetric<br />
forms. This rotation generated cubic structures as diverse as Hans<br />
Haacke's Condensation Cube (1963-65), Robert Morris's Four Mirrored Cubes<br />
(1965), or Larry Bell's simultaneously produced Mineral Coated Glass Cubes, and<br />
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