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Space between disciplines, 1967 :Identifying architecture in modernist and literalist criticism.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Space between disciplines, 1967 :
其他題名:	Identifying architecture in modernist and literalist criticism.
作者:	Linder, Mark David.
面頁冊數:	307 p.
附註:	Adviser: Mark Wigley.
附註:	Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1367.
Contained By:	Dissertation Abstracts International59-05A.
標題:	Architecture.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9833140
ISBN:	0591862778

Space between disciplines, 1967 :Identifying architecture in modernist and literalist criticism.
Linder, Mark David.

Space between disciplines, 1967 :Identifying architecture in modernist and literalist criticism. [electronic resource] - 307 p.

Adviser: Mark Wigley.

Thesis (Ph.D.)--Princeton University, 1998.

As did Rowe in his translation of cubism, the literalists advanced a productive impropriety that exploits and revises the spatial confusions in Greenberg's early criticism. Fried's competing revision of Greenberg, adapted from concepts--"conviction," "presentness," "theatricality"--elaborated in Stanley Cavell's "skeptical" essays on aesthetics and modernism, amounts to a denial of architecture and a sublimation of literal space. Yet Cavell provides insights into the strategies of literalist sculpture and criticism, particularly that of Robert Smithson, whose activities as an "artist-consultant" in the initial design of the Dallas-Fort Worth Airport (1966-1967) exemplify the literalist translations of architecture and support an interpretation of his "non-sites" (1968) as a "confusion" of architecture, sculpture and painting.

ISBN: 0591862778Subjects--Topical Terms:

208437
Architecture.

Space between disciplines, 1967 :Identifying architecture in modernist and literalist criticism.
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500 $a Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1367.
502 $a Thesis (Ph.D.)--Princeton University, 1998.
520 # $a As did Rowe in his translation of cubism, the literalists advanced a productive impropriety that exploits and revises the spatial confusions in Greenberg's early criticism. Fried's competing revision of Greenberg, adapted from concepts--"conviction," "presentness," "theatricality"--elaborated in Stanley Cavell's "skeptical" essays on aesthetics and modernism, amounts to a denial of architecture and a sublimation of literal space. Yet Cavell provides insights into the strategies of literalist sculpture and criticism, particularly that of Robert Smithson, whose activities as an "artist-consultant" in the initial design of the Dallas-Fort Worth Airport (1966-1967) exemplify the literalist translations of architecture and support an interpretation of his "non-sites" (1968) as a "confusion" of architecture, sculpture and painting.
520 # $a This dissertation traces a transdisciplinary "history of formalism" in the art and architectural criticism of post-war America. It proposes that the events of 1967 comprise a historical "knot," marked by an intensification of the conflict between competing versions of formalism, epitomized in the controversy provoked by Michael Fried's 1967 essay "Art and Objecthood," characterized by specific instances, absences and patterns of disciplinary crossing, and resulting in a reconfigured relationship between art and architecture.
520 # $a Three modes of formalist criticism maintain distinct attitudes toward architecture. Pictorial formalism is the medium-specific modernism of Clement Greenberg and Fried that dominated post-war art. While Greenberg ventured, and later abandoned, an effort to relate architecture to painting and sculpture, Fried strenuously excluded architectural issues from his revised notion of modernist art. Pictorial impropriety is exemplified by Colin Rowe's translation of abstract painting, especially cubism, into architectural terms. Literalism is advanced by artist-critics such as Robert Smithson, Donald Judd and Robert Morris who engaged aspects of architecture to inspire, inform and initiate a three-dimensional alternative to pictorial formalism. By appropriating properly architectural concerns (actual space, interiority, fabrication, scale, duration, site), the literalists engendered the most sustained, prolific and explicit reconfiguration of modernist criticism. As a result, they identified a role for architecture that differs from the specific formalist modes of contemporary architects, and initiated critical practices that amount to selective usurpations of the architectural discipline.
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