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Book ChapterDOI

Je dois me saturer de Brancusi

01 Jan 2019-
About: The article was published on 2019-01-01 and is currently open access. It has received 1 citations till now.
Citations
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01 Jan 2016
TL;DR: In this paper, a considerable amount of research has been done in the past on the art of Constantin Brancusi and some of the essential elements of his artistic production have not yet received enough attention.
Abstract: A considerable amount of research has been done in the past on the art of Constantin Brancusi. Some of the essential elements of his artistic production have, however, not yet received enough attention. The purpose of this paper will be to bring some of them, specifically the object-sculpture, the base and assemblage, into proper focus against the background of his work as a whole.Object-sculpture, usually associated with Marcel Duchamp and Dada, is an object from daily life, a utilitarian object, that has been transformed by means of artistic selection into art. How did Brancusi come to conceive and complete his object-sculptures?

2 citations

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Journal ArticleDOI
TL;DR: Morris as mentioned in this paper presents a collection of essays from the 1960s to the 1980s addressing wide-ranging intellectual and philosophical problems of sculpture, raising issues of materiality, size and shape, anti-illusionism and perceptual conditions.
Abstract: Robert Morris is best known for his contributions to minimalist sculpture and antiform art, as well as for a number of influential theoretical writings on art. This collection of his essays from the 1960s to the 1980s addresses wide-ranging intellectual and philosophical problems of sculpture, raising issues of materiality, size and shape, anti-illusionism and perceptual conditions. Included are the influential \"Notes on Sculpture\", which in four parts articulates the shifting terrains of sculpture during the 1960s, tracing its movement from the gestalt-driven unitary forms of minimalism, through permutable pieces, to the formally dispersed process-oriented antiform art that appeared later in the decade. Morris's landmark essay on \"Anti Form\", which marked a departure from art as object is also featured. In the later essays, Morris looks at modern art's development in America, based on a framework of strategies produced by Duchamp, Pollock, and other key figures. And in a refiguration of an interview with Roger Denson, Morris acts out a subtle mockery of himself and his art, collapsing the high seriousness of the intended format into a playful scheme.

72 citations

Journal ArticleDOI
21 Jan 1985-October
TL;DR: Frampton: Well, I can, at least, tell you what the film came out of, and how it reached its present form as mentioned in this paper, but that is not a complete account.
Abstract: Frampton: Well, I can, at least, tell you what the film came out of, and how it reached its present form. I first began using a movie camera at the end of the fall of 1962. At that time I was, in a way, being systematically forced into cinema by my work in still photography. I'd been working for a long time in series, sometimes long ones, and there were things about the still series that began to trouble me. For example, if you have a bunch of photographs that you believe cohere even in book space, let alone on a gallery wall, there's no way to determine the order in which they're seen, nor the amount of time for which each one is seen, nor to establish the possibility of a repeat. So that already had me thinking of film, as a kind of ordering and control, a way of handling stills.

8 citations

Journal ArticleDOI
TL;DR: The confusion that exists among the public as well as among the film makers themselves about the terminology of "art films" and "films on art" has been highlighted by as discussed by the authors.
Abstract: MR. BOSLEY CROWTHER has hinted recently at the confusion that exists among the public as well as among the film makers themselves about the terminology of "art films" and "films on art."' As far back as 1939 someone wrote: "Movies are now officially art. A gouache from Walt Disney's Snow White and the Seven Dwarfs hangs in the Metropolitan Museum."2 Although this may have been stated with tongue in cheek, I believe it summarizes nicely the fine state of confusion that still prevails behind the smoke screen of that omnipotent word: art. To complicate further the situation is the common denomination of "art houses" for those theaters which show foreign or otherwise commercially dangerous films that the big distributors do not want to handle. That the films may be works of art (film art) is one thing; but this does not necessarily imply that the content of the film deals with art (fine art). There are ambiguous but handy words such as avant-garde or "experimental" to describe the Hans Richter or Fernand Leger type of films. And yet, the recent Abstract in Concrete was presented at the Second International Art Film Festival which purported to show "new films on art and artists of many countries." This film, which is a montage of patterns of light and movement photographed on rainy days in Times Square, may be a work of

2 citations

01 Jan 2016
TL;DR: In this paper, a considerable amount of research has been done in the past on the art of Constantin Brancusi and some of the essential elements of his artistic production have not yet received enough attention.
Abstract: A considerable amount of research has been done in the past on the art of Constantin Brancusi. Some of the essential elements of his artistic production have, however, not yet received enough attention. The purpose of this paper will be to bring some of them, specifically the object-sculpture, the base and assemblage, into proper focus against the background of his work as a whole.Object-sculpture, usually associated with Marcel Duchamp and Dada, is an object from daily life, a utilitarian object, that has been transformed by means of artistic selection into art. How did Brancusi come to conceive and complete his object-sculptures?

2 citations