Fried did not share this belief. For him, the work of art was supposed to compel conviction, and the primary character of non-art was its relation to theatre. The literalist sensibility was theatrical, because it was concerned with the actual circumstances in which the viewer encountered the literalist work. These instances were situations that included the beholder, in which physical participation became necessary. Writing about Minimal works Fried pointed out the distancing character of these pieces. The works confronted the viewers, and were in her way. The instance became a total situation, even containing the viewers body.
The presence of literalist art had a theatrical effect or quality – a kind of stage presence. It was aggressive and obtrusive. The notion of duration gives art works its place in time and makes it more easily perceived. Something is said to have presence when it demands that the beholder take it into account and take it seriously – when the fulfilment of that demand consists simply in being aware of it. For Fried this situation was akin to that of being in the presence of another person. While the exhibition artists rely on, trust in and employ the easel format, there also seems to be a need to test out the limits. Jukka Korkeilas contribution includes a wall painting combined with drawings, a development which arose in response to the exhibition situation, not as a reaction to outside wishes, needs or pressures. Quoting Korkeila: The idea came out of a bunch of random impulses that set me thinking about whether painting directly onto a wall is at all possible.
The Term Paper on Art In Architecture One Viewer Inside
Architecture is undeniably one of the most powerful forms of art. Buildings have the ability to loom in the distance when seen from afar. As you approach it more and more details can be seen. Minute intricacies such as stone quality, texture, and perhaps some ornate detailing become apparent. Even standing at a doorway can provide some involved feelings. Does the building seem to invite the viewer ...
The answer was a positive experience. I got sufficient distance from conventional rectangular painting, which often incorporates an element of that feeling of anxiety linked with the shape. At the same time, the painting process reverted to its original model. It was an action that happened directly in the space. (Finly) This detour outside of the frames should not stop us from acknowledging the possibilities of traditional painting, which we in any case concentrate on in this exhibition. In the catalogue interviews, the artists refer to painting both as an ultimate, limitless means of expression and, at the other end, as a medium that gains its charm from the fact that it is an inadequate means for communicating things. Paintings act as projection screens for stories and images from the subconscious and imagination – arenas for moments from everyday or fictive memory.
Fried thought that the success, even the survival, of the arts had come increasingly to depend on their ability to defeat theatre. I prefer Tal Rs version: Painting is a zombie medium. As a painter you are a little bit like a guy showing up in a tiger suit at a techno party. So your dress code is outdated, but you might still have the best moves on the dance floor. (Finly) Moving along the subject we need to take a closer look at another work by the artist in order to have even better vision of the attitude towards the concept of duration. Adolph Menzel (1815-1905), an improbable, cross-grained character who might have walked out of one of E.T.A. Hoffmanns fairie tales, lacked by his own admission the glue that binds us to the rest of humanity. Instead he stood just to one side of the world, holding a pad in one hand and pencil and stump in the other- whether left or right did not matter, for he was graphically ambidextrous.
He drew constantly. At age seventeen Menzel began a course of study at the academy in Berlin, but soon abandoned it and taught himself to paint. Eventually, with his brilliant historical mirages of eighteenth-century Prussian court life, he won celebrity. By the end of his long run, according to an obituarist, Menzel belonged to the image of the city. This dwarflike man with his enormous head and sarcastic countenance … was pointed out to tourists as a curiosity. The memorial exhibition mounted by the Nationalgalerie in Berlin at his death, in 1905, made room for 6,405 drawings, 291 watercolors, 129 paintings, and 252 prints..
The Essay on Modern Painting
... only Susan Sidlauskas, Body, Place, and Self in Nineteenth-Century Painting (2000), Alexander Nemerov, The Body of Raphaelle Peale: Still ... authoritative ground and origin for art. The lived body- first Menzels, then the beholders- becomes for Fried the source ... ... of primordial intentionality. Menzels realism, for Fried, is solipsism, no more, no less: All ...
