DOCSLIB.ORG

Lecture 17: Futurism De Stijl Russian Constructivism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lecture 17: Futurism De Stijl Russian Constructivism 5/6/16 Lecture 17:! ! ! ! ! ! Toward A New Aesthetic ! between ! Art and Life:! Futurism! de Stijl! Russian Constructivism! Europe in 1914 ! Umberto Boccioni 1 5/6/16 Boccioni Georges Braque Pablo Picasso Antonio Sant-Elia 1888-1916 Boccioni * Sant-Elia, Citta Nuova, exhibit, 1914” * Antonio Sant-Elia, Citta Nuova [“New City”], exhibit, 1914” * Sant-Elia, Citta Nuova, exhibit, 1914” * Sant-Elia, Citta Nuova, exhibit, 1914” 2 5/6/16 Theo van Doesburg, Vilmos Huszar, de Stijl de Stijl [magazine], [sometimes the “Rotterdam School”] 1917 Mondrian, landscape, 1908, Mondrian, “The Red Tree,” 1910 Mondrian, “Gray Tree,” 1911 Mondrian, still life with vase, 1911-12 Mondrian, “Composition with line,” 1917 Mondrian, “Composition,” 1914 Mondrian, “Composition with color planes and gray lines #1], 1918 3 5/6/16 Theo van Doesburg, Mondrian “Card players,” Composition, 1917 1922 Theo van Doesburg Georges Vantongerloo, “Construction of Volumetric Interrelationships derived from the Inscribed Square and the Square Circumscribed by a Circle,” ca. 1920? van t'Hoff, Concrete Villa Robert van t'Hoff, Concrete Villa (Henny house), Huis ter Heide, 1915-20 (Henny house), Huis ter Heide, 1915-20 Gerrit Rietveld, Red-Blue Chair, 1917 and Gerrit after Rietveld 1888-1964 Gerrit Rietveld, sideboard, 1919 4 5/6/16 Gerrit Gerrit Gerrit Rietveld, Rietveld, Rietveld, furniture Red-Blue furniture Chair, 1917 and after van Doesburg and van Eestern color studies, 1923 de Stijl [magazine], after 1920] van Doesburg and van Eestern, color studies, 1923 R: G.Rietveld, interior for B. de Ligt, 1919 * Gerrit Rietveld, Schroeder House, Utrecht, 1923-25 L: G. Rietveld (furniture) V. Huszár(color), exhibition room maquette, Berlin, 1923 5 5/6/16 * Gerrit Rietveld, Schroeder House, Utrecht, 1923-25 * Gerrit Rietveld, Schroeder House, Utrecht, 1923-25 * Gerrit Rietveld, Schroeder House, Utrecht, 1923-25 Schroeder House, plan of upper floor with walls folded out (top) and walls folded back (bottom) * Gerrit Rietveld, Schroeder * Gerrit Rietveld, Schroeder House, Utrecht, 1923-25 House, Utrecht, 1923-25 6 5/6/16 Schroeder House, interior (upper floor) Schroeder House, interior (upper floor) J.J. P. Oud 1890-1963 J.J.P. Oud, Factory project, 1919 J.J.P. Oud, Café de Unie, Rotterdam, 1925 7 5/6/16 J.J.P. Oud, Kiefhoek Housing, Rotterdam, 1924-30 J.J.P. Oud, Kiefhoek Housing, Rotterdam, 1924-30 • J.J.P. Oud, Hook of Holland Housing J.J.P. Oud, Kiefhoek Housing, Rotterdam, 1924-30 • Rotterdam, 1924-27, * J.J.P. Oud, Hook of Holland Housing, Rotterdam, 1924-27, * J.J.P. Oud, Hook of Holland Housing, 1924-27 Suprematism Kazimir Malevich Black Square and Red Square, 1915 Russian Constructivism! 8 5/6/16 Vladimir Tatlin 1885-1953 Suprematism! Kazimir Malevich ! ! ! Vladimir Tatlin, counter-relief, 1915 Vladimir Tatlin counter-relief, 1915 El Lissitzky 1890-1941 El Lissitzky, Proun Room, 1923 El Lissitzky, elementarism Proun R.V.N. 2, 1923 El Lissitzky, Proun Room, 1923 [modern reconstruction] 9 5/6/16 *Vladimir El Lissitzky, Tatlin, Lenin Monument to Tribune, The Third 1920 International project, 1919-20 *Tatlin, Monument to the Third International [project], 1919-20 *Tatlin, Monument to the Third International [project], 1919-20 10 .
Load more

Recommended publications
  • The De Stijl Movement in the Netherlands and Related Aspects of Dutch Architecture 1917-1930
    25 March 2002 Art History W36456 The De Stijl Movement in the Netherlands and related aspects of Dutch architecture 1917-1930. Walter Gropius, Design for Director’s Office in Weimar Bauhaus, 1923 Walter Gropius, Bauhaus Building, Dessau 1925-26 [Cubism and Architecture: Raymond Duchamp-Villon, Maison Cubiste exhibited at the Salon d’Automne, Paris 1912 Czech Cubism centered around the work of Josef Gocar and Josef Chocol in Prague, notably Gocar’s House of the Black Virgin, Prague and Apt. Building at Prague both of 1913] H.P. (Hendrik Petrus) Berlage Beurs (Stock Exchange), Amsterdam 1897-1903 Diamond Workers Union Building, Amsterdam 1899-1900 J.M. van der Mey, Michel de Klerk and P.L. Kramer’s work on the Sheepvaarthuis, Amsterdam 1911-16. Amsterdam School and in particular the project of social housing at Amsterdam South as well as other isolated housing estates in the expansion of the city. Michel de Klerk (Eigenhaard Development 1914-18; and Piet Kramer (De Dageraad c. 1920) chief proponents of a brick architecture sometimes called Expressionist Robert van t’Hoff, Villa ‘Huis ten Bosch at Huis ter Heide, 1915-16 De Stijl group formed in 1917: Piet Mondrian, Theo van Doesburg, Gerritt Rietveld and others (Van der Leck, Huzar, Oud, Jan Wils, Van t’Hoff) De Stijl (magazine) published 1917-31 and edited by Theo van Doesburg Piet Mondrian’s development of “Neo-Plasticism” in Painting Van Doesburg’s Sixteen Points to a Plastic Architecture Projects for exhibition at the Léonce Rosenberg Gallery, Paris 1923 (Villa à Plan transformable in collaboration with Cor van Eestern Gerritt Rietveld Red/Blue Chair c.
    [Show full text]
  • Extended Sensibilities Homosexual Presence in Contemporary Art
    CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr.
    [Show full text]
  • Avant-Gardes in Yugoslavia
    Filozofski vestnik | Letnik XXXVII | Številka 1 | 2016 | 201–219 Miško Šuvaković* Avant-Gardes in Yugoslavia In this study, I will approach the avant-gardes as interdisciplinary, internation- ally oriented artistic and cultural practices.1 I will present and advocate the the- sis that the Yugoslav avant-gardes were a special geopolitical and geo-aesthetic set of artistic and cultural phenomena defined by the internal dynamics and interrelations of the Kingdom of Serbs, Croats, and Slovenes and the Kingdom of Yugoslavia and by the external dynamics, cosmopolitan relations, and inter- nationalisations of local artistic excess and experimentation with international avant-garde practices. I will devote special attention to the local and interna- tional networking of cities as the political and cultural environments where the avant-gardes took place. Above all, the avant-gardes thereby acquired the char- acter of extremely urban artistic and cultural phenomena. Introductory Interpretation of the Concept of the Avant-garde Discussing the status, functions, and effects of any avant-garde does not boil down to asking what phenomenal or conceptual, i.e. formalist, qualities are characteristic of an avant-garde work of art, the behaviour of an avant-garde artist, or her private or public life. On the contrary, equally important are direc- tional questions regarding the instrumental potentialities or realisations of the avant-garde as an interventional material artistic practice in between or against dominant and marginal domains, practices, or paradigms within historical or 201 present cultures. Avant-garde artistic practices are historically viewed as trans- formations of artistic, cultural, and social resistances, limitations, and ruptures within dominant, homogeneous or hegemonic artistic, cultural, and social en- vironments.
    [Show full text]
  • 4 De Stijl: 'Manifesto L' S Theo Van Doesburg
    IIIC Abstraction and Form 281 hnique tendency, led by Khlebnikov, to create a new and properly poetic language has fficulty emerged . In the light of these developments we can define poetry as attenuated, tortuous n itself speech. Poetic speech is formed speech. Prose is ordinary speech [ . .] ?bjec1 is 4 De Stijl: 'Manifesto l' 'arm is The De Stijl group was founded in Holland in 1917, dedicated to a synthesis of art, design and is this: architecture. Its leading figure was Theo van Doesburg. Other members included Gerrit ich are Rietveld and J. J. P. Ou d, both architect-designers, and the painters Georges Vantongerloo :reate a and Piet Mondrian. Links were established with the Bauhaus in Weimar Germany, and with ·ng as a similar projects in Russia, particularly through contacts with El Lissitsky. The 'Manifesto', principally the work of van Doesburg, was composed in 1918. ltwas published in the group's journal De Stijl, V, no. 4, Amsterdam, 1922. The present translation by Nicholas Bullock is taken from Stephen Bann (ed.), The Tradition of Constructivism, London, 197 4, p. 65. ; in its s com­ Ne find There is an old and a new consciousness of time. uthor's The old is connected with the individual. tion. A The new is connected with the universal. ,ossible The struggle of the individual against the universal is revealing itself in the world ;ky has war as well as in the art of the present day. ,articu­ 2 The war is destroying the old world and its contents: individual domination in Jficult, every state.
    [Show full text]
  • Challenging Tradition
    CHALLENGING TRADITION: BAUHAUS, DE STIJL, and RUSSIAN CONSTRUCTIVISM (Kandinsky, Mondrian, Breuer, Tatlin, and Stepanova) WASSILY KANDINSKY Online Links: Wassily Kandinsky - Wikipedia, the free encyclopedia Der Blaue Reiter - Wikipedia, the free encyclopedia Quotes from Wassily Kandinsky http://www.smarthistory.org/Kandinsky-CompositionVII.html Theosophy - Wikipedia, the free encyclopedia Arnold Schoenberg - Wikipedia, the free encyclopedia Helen Mirren on Kandinsky – YouTube Kandinsky Drawing 1926 – YouTube Schonberg and Kandinsky - YouTube FRANZ MARC Online Links: Franz Marc - Wikipedia, the free encyclopedia Meditation on Blue Horses by Franz Marc - YouTube PIET MONDRIAN Online Links: Piet Mondrian - Wikipedia, the free encyclopedia De Stijl - Wikipedia, the free encyclopedia http://www.smarthistory.org/de-stijl- mondrian.html Gerrit Rietveld - Wikipedia, the free encyclopedia Theo van Doesburg - Wikipedia, the free encyclopedia Bauhaus Online Links: Accommodation inside the Studio Building at Bauhaus Bauhaus - Unesco Site Bauhaus – Wikipedia Bauhaus: Design in a Nutshell Architecture - Dessau Bauhaus - YouTube KAZIMIR MALEVICH Online Links: Kazimir Malevich - Wikipedia, the free encyclopedia Suprematism - Wikipedia, the free encyclopedia Tabula rasa - Wikipedia, the free encyclopedia Plays: Victory over the Sun, Introduction and Costume Design Victory over the Sun - Wikipedia, the free encyclopedia Malevich's White on White compared with Monet - Smarthistory VLADIMIR TATLIN and the RUSSIAN CONSTRUCTIVISTS Online Links: Vladimir Tatlin - Wikipedia, the free encyclopedia Constructivism (art) - Wikipedia, the free encyclopedia Tatlin's Tower - Wikipedia, the free encyclopedia Naum Gabo - Wikipedia, the free encyclopedia Stepanova's Results from the First Five Year Plan Rodchenko - Spatial Construction No. 12 (with video) – MOMA Rodchenko's Lines of Force - Tate Modern Vassily Kandinsky. Picture with an Archer, 1909 The Russian artist Vassily Kandinsky (1866-1944) was among the first to eliminate recognizable objects from his paintings.
    [Show full text]
  • Dada-Guide-Booklet HWB V5.Pdf
    DA DA DA DA THE UNIVERSITY OF IOWA LIBRARIES PRESENTS DOCUMENTING DADA // DISSEMINATING DADA THE UNIVERSITY OF IOWA LIBRARIES MAIN LIBRARY GALLERY JANUARY 17 - APRIL 28, 2017 An exhibition featuring items from the UI Libraries' International DADA Archive, the world’s most comprehensive collection of material related to the Dada movement. GALLERY HOURS & COMPLETE EXHIBITION INFORMATION AT LIB.UIOWA.EDU/GALLERY EXHIBITION GUIDE 1 DOCUMENTING DADA // DISSEMINATING DADA From 1916 to 1923, a new kind of artistic movement Originating as an anti-war protest in neutral swept Europe and America. Its very name, “DADA” Switzerland, Dada rapidly spread to many corners —two identical syllables without the obligatory of Europe and beyond. The Dada movement was “-ism”—distinguished it from the long line of avant- perhaps the single most decisive influence on the gardes that had determined the preceding century of development of twentieth-century art, and its art history. More than a mere art movement, Dada innovations are so pervasive as to be virtually taken claimed a broader role as an agent of cultural, social, for granted today. and political change. This exhibition highlights a single aspect of Dada: Its proponents came from all parts of Europe and the its print publications. Since the essence of Dada was United States at a time when their native countries best reflected in ephemeral performances and actions were battling one another in the deadliest war ever rather than in concrete artworks, it is perhaps ironic known. They did not restrict themselves to a single that the dadaists produced many books and journals mode of expression as painter, writer, actor, dancer, of astonishing beauty.
    [Show full text]
  • De Stijl, One of the Longest Lived and Most Influential Groups of Modern Artists, Was Formed in Holland During the First World War
    de stil De Stijl, one of the longest lived and most influential groups of modern artists, was formed in Holland during the first world war. From the very beginning it was marked by extraordinary collaboration on the part of painters and sculptors on the one hand and architects and practical de- signers on the other. It included among its leaders two of the finest artists of the period, the painter Piet Mondrian and the architect J. J. P. Oud; bul its wide influence was exerted principally through the theory and tireless propaganda of its founder, Theo van Doesburg, painter, sculptor, architect, typographer, poet, novelist, critic and lecturer-a man as versatile as any figure of the renaissance. DE STIJLPAINTING, MONDRIAN AND VAN DOESBURG, 1912-1920 Three elements or principles formed the fundamental basis of the work of de Stijl, whether in painting, architecture or sculpture, furniture or typography: in form the rectangle; in color the "primary" hues, red, blue and yellow; in composition the asymmetric balance. These severely simplified elements were not, however, developed in a moment but as the result of years of trial and error on the part of the painters Mondrian, van Doesburg, and van der Leck. Mondrian first studied with his uncle, a follower of Willem Maris. Then, after three years at the Amsterdam Academy, he passed through a period of naturalistic landscapes to a mannered, mystical style resem- bling the work of Thorn-Prikkerand Toorop. By the beginning of 1912 he was in Paris and there very soon fell under the influence of Picasso. Some of his paintings of 1 91 2, based upon tree forms, were as abstract as any Braque or Picasso of that time.
    [Show full text]
  • Maarten Doorman
    artinprogress2.def 20-10-2003 11:58 Pagina 1 Maarten Doorman Art is supposed to be of our time or rather to be part of Art in Progress the future. This perspective has reigned the arts and art criticism for more than a century. The author of this challenging and erudite essay shows how the idea of progress in the arts came up A Philosophical Response to the End of the Avant-Garde and he describes the enormous retorical impact of progressive concepts. After the end of the avant-garde the idea of progress in the arts collapsed and soon philosophers like Arthur Danto Doorman Maarten proclaimed the end of art. Doorman investigates the crippling effects of postmodernism on the arts and proposes a new form of progress to understand contemporary art. Its history can still be seen as a process of accumulation: works of art comment on each other, enriching each other’s meanings. These complex interrelationships lead to progress in both the sensibility of the observer and the significance of the works of art. Art in Progress Maarten Doorman is an In the nineteenth century, the history of painting associate professor of was regarded as the paradigm of a progressive under- philosophy at the taking, and evidence that historical progress is a University of Maastricht possible ideal everywhere else. In post-modernist and a professor of literary times, however, progress seems to have all but lost criticism at the University meaning against prevailing philosophies of the end of Amsterdam. The Dutch of art. But the end of art does not entail that there has edition of this title was not been genuine progress in the philosophy of art.
    [Show full text]
  • Minimalism 1 Minimalism
    Minimalism 1 Minimalism Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects of Modernism, and is often interpreted as a reaction against Abstract expressionism and a bridge to Postmodern art practices. The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. (See also Postminimalism). The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe the Mensheviks.[1] Minimalist design The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work.
    [Show full text]
  • Poetics and Politics of the Avant-Garde*
    POZNAŃSKIE STUDIA SLAWISTYCZNE PSS NR 18/2020 ISSN 2084-3011 DOI: 10.14746/pss.2020.18.3 Data przesłania tekstu do redakcji: 11.11.2019 Zrinka Božić Blanuša Data przyjęcia tekstu do druku: 28.01.2020 University of Zagreb [email protected] ORCID: 0000-0002-6438-6542 Decentred Geographies: Poetics and Politics of the Avant-garde* ABSTRACT: Božić Blanuša Zrinka, Decentred Geographies: Poetics and Politics of the Avant- -garde. “Poznańskie Studia Slawistyczne” 18. Poznań 2020. Publishing House of the Poznań Society for the Advancement of the Arts and Sciences, Adam Mickiewicz University, pp. 49–66. ISSN 2084-3011. Thanks to the work of Pascale Casanova, Franco Moretti, David Damrosch and many others, over the past two decades, the concept of world literature has once again become the subject of thor- ough examination within the field of literary studies, especially in relation to cosmopolitanism and globalization. When it comes to the study of individual national literatures and specific regional contexts, as well as to the definition of comparative literature as a discipline, debates regarding its background, its reach and limitations could not be ignored. World literature thus appears as a heterogenous entity – always manifesting in different contexts in different forms – consistently in dialogical exchange with specificities of a particular literature and culture. Instead of discussing the problematic relation between centre and periphery or criticizing the idea of global literary and cultural canon, the avant-garde as an international and global phenomenon that appears even more radically on the so-called periphery is what is of primary interest to me. Therefore, the purpose of this paper is to demonstrate that avant-garde (in its various forms and radical expressions) simultaneously challenges art as an institution and introduces the idea of a decentred geography of world literature.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Compaoy 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 MODERNISM BETWEEN EAST AND WEST: THE HUNGARIAN JOURNAL MA (1916-1925) AND THE INTERNATIONAL AVANT-GARDE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marian Mazzone, B.A., M.A.
    [Show full text]
  • Between Illusion and Theatricality: Rosalind Krauss, Michael Fried And
    E‐ISSN 2237‐2660 Entre a Ilusão e a Teatralidade: Rosalind Krauss, Michael Fried e o Minimalismo Manoel Silvestre FriquesI, II IUniversidade Federal do Estado do Rio de Janeiro – UNIRIO, Rio de Janeiro/RJ, Brasil IIUniversidade Federal do Rio de Janeiro – UFRJ, Rio de Janeiro/RJ, Brasil RESUMO – Entre a Ilusão e a Teatralidade: Rosalind Krauss, Michael Fried e o Mini- malismo – O artigo investiga a questão da teatralidade do Minimalismo a partir das leituras críticas elaboradas por Michael Fried e Rosalind Krauss. Enquanto Krauss, desde o primeiro momento em que reflete sobre obras de Donald Judd e Dan Flavin, evidencia sua contradição fundamental – a presença da ilusão, a despeito de sua rejeição pelos artistas –, Fried atém-se ao pretenso literalismo dessas propostas, denominando-o de teatralidade. No texto, as duas abordagens serão confrontadas, extraindo-se delas os pontos de vista dos autores para a noção de teatralidade. Palavras-chave: Minimalismo. Rosalind Krauss. Michael Fried. Crítica de Arte. Teatralida- de. ABSTRACT – Between Illusion and Theatricality: Rosalind Krauss, Michael Fried and Minimalism – The article investigates Minimalism’s theatricality from the standpoint of Michael Fried’s and Rosalind Krauss’ critical readings. On the one hand, Krauss, from the very first moment in which she reflects on the works of Donald Judd and Dan Flavin, evidences their fundamental contradiction: the presence of the illusion, despite its rejection by the artists. On the other hand, Fried focuses on the alleged literalism of those projects, calling them theatricality. In the text, the two approaches will be confronted in order to explore the authors’ different views on the notion of theatricality.
    [Show full text]