Nothing Less Than Literal: Architecture After Minimalism

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9780262622080: Nothing Less Than Literal: Architecture After Minimalism

Book by Linder Mark

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"adventurous... essays open up a greater range of debate and questioning that has recently disappeared in discussions about 'nothing more than architecture.'" Constructs

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In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of "the architecture of minimalism" in the contemporary work of John Hejduk and Frank Gehry."Literal" was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. Beginning with a comparison of the "postcubist" writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism -- including the use by both of an analogy between cubist collage and architectural space. This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried's concept of the "radically abstract" with Smithson's explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism -- John Hejduk's Wall House and Frank Gehry's decade-long fascination with the figure of the fish. Linder shows how the "productive impropriety" of transdisciplinary borrowing in the discourses surrounding minimalism serves as a counterexample to the prevalent perception of "disciplines" as conservative and institutionalizing.

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Descripción MIT Press Ltd, United States, 2007. Paperback. Estado de conservación: New. 218 x 200 mm. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of the architecture of minimalism in the contemporary work of John Hejduk and Frank Gehry. Literal was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. Beginning with a comparison of the postcubist writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism -- including the use by both of an analogy between cubist collage and architectural space.This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried s concept of the radically abstract with Smithson s explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism -- John Hejduk s Wall House and Frank Gehry s decade-long fascination with the figure of the fish. Linder shows how the productive impropriety of transdisciplinary borrowing in the discourses surrounding minimalism serves as a counterexample to the prevalent perception of disciplines as conservative and institutionalizing. Nº de ref. de la librería BTE9780262622080

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Mark Linder
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ISBN 10: 0262622084 ISBN 13: 9780262622080
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Descripción MIT Press Ltd, United States, 2007. Paperback. Estado de conservación: New. 218 x 200 mm. Language: English . Brand New Book. In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of the architecture of minimalism in the contemporary work of John Hejduk and Frank Gehry. Literal was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. Beginning with a comparison of the postcubist writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism -- including the use by both of an analogy between cubist collage and architectural space. This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried s concept of the radically abstract with Smithson s explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism -- John Hejduk s Wall House and Frank Gehry s decade-long fascination with the figure of the fish. Linder shows how the productive impropriety of transdisciplinary borrowing in the discourses surrounding minimalism serves as a counterexample to the prevalent perception of disciplines as conservative and institutionalizing. Nº de ref. de la librería AAH9780262622080

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Mark Linder
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ISBN 10: 0262622084 ISBN 13: 9780262622080
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Descripción MIT Press Ltd, United States, 2007. Paperback. Estado de conservación: New. 218 x 200 mm. Language: English . Brand New Book. In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of the architecture of minimalism in the contemporary work of John Hejduk and Frank Gehry. Literal was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. Beginning with a comparison of the postcubist writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism -- including the use by both of an analogy between cubist collage and architectural space.This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried s concept of the radically abstract with Smithson s explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism -- John Hejduk s Wall House and Frank Gehry s decade-long fascination with the figure of the fish. Linder shows how the productive impropriety of transdisciplinary borrowing in the discourses surrounding minimalism serves as a counterexample to the prevalent perception of disciplines as conservative and institutionalizing. Nº de ref. de la librería AAH9780262622080

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Descripción MIT Press, 2007. PAP. Estado de conservación: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Nº de ref. de la librería WM-9780262622080

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Descripción 2007. Paperback. Estado de conservación: NEW. 9780262622080 This listing is a new book, a title currently in-print which we order directly and immediately from the publisher. Nº de ref. de la librería HTANDREE01141913

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Descripción The MIT Press, 2007. Paperback. Estado de conservación: New. book. Nº de ref. de la librería 0262622084

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