Vou aqui completar o post anterior com as imagens dos meus dois cubos, tal como estavam quando a aula terminou e com a imagem do meu cubo final, obedecendo aos requisitos pedidos pelos professores:
1º Cubo, iniciado e finalizado em aula:
2º Cubo, iniciado em aula:
2º Cubo, após finalização em casa, com a projecção ortogonal no canto superior direito:
Conceitos
Ergonomia - Conjunto dos estudos que têm por objectivo a organização do trabalho em função do fim proposto e das condições de adaptação do homem ao seu trabalho de modo a trazer-lhe o máximo de conforto possível.
Antropometria - Estuda os valores parcelares e globais das medições do corpo humano e da amplitude dos seus movimentos.
"Less is more" – Consiste na criação de obras simples em oposição a obras mais complexas, primando o design pela pureza das formas.
Metodologia Projectual – É a organização de um conjunto de acções que orientam o processo criativo na elaboração de um projecto. Apoia-se em duas atitudes distintas: A atitude instintiva e emotiva; e a atitude racional e logística.
Pesquisa:
Minimalism in visual art:
Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
Kazimir Malevich, Black Square, 1913, Oil on Canvas, State Russian Museum, St.Petersburg
Minimalism in visual art, sometimes referred to as literalist art[4] and ABC Art[5] emerged in New York in the 1960s. It is regarded as a reaction against the painterly forms of Abstract Expressionism as well as the discourse, institutions and ideologies that supported it.[...] Minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such.
In contrast to the Abstract Expressionists, Minimalists were influenced by composers John Cage and LaMonte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated that their art was not self-expression, in opposition to the previous decade's Abstract Expressionists. In general, Minimalism's features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
[...]
One of the first artists specifically associated with Minimalism was the painter, Frank Stella, whose early "stripe" paintings were highlighted in the 1959 show, "16 Americans", organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas's stripe paintings were determined by the dimensions of the lumber, visible as the depth of the painting when viewed from the side, used to construct the supportive chassis upon which the canvas was stretched. The decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a "given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and emotionally-charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the previous generation of abstract expressionists, leaned more toward less gestural, often somber coloristic field paintings of Barnett Newman and Mark Rothko. [...]
Because of a tendency in Minimalism to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects”[...], was a touchstone of theory for the formation of Minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman,[7] who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.
In a much more broad and general sense, one might, in fact, find European roots of Minimalism in the geometric abstractions painters in the Bauhaus, in the works of Piet Mondrian and other artists associated with the movement DeStijl, in Russian Constructivists and in the work of the Romanian sculptor Constantin Brâncuşi.
Piet Mondrian, Composition No. 10, 1939-42, oil on canvas, 80 x 73 cm, private collection.
This movement was heavily criticised by high modernist formalist art critics and historians. Some anxious critics thought Minimalist art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the 1960s. The most notable critique of Minimalism was produced by Michael Fried, a Greenbergian critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he declared that the Minimalist work of art, particularly Minimalist sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of Minimal art. Fried's opinionated essay was immediately challenged by artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: "What Fried fears most is the consciousness of what he is doing--namely being himself theatrical."
[...]
Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art: "The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature."
From Wikipedia, the free encyclopedia
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