Publicação
Plain arts: Portugal and beyond
| Resumo: | In The Shape of Time (1962), George Kubler characterized the history of objects as a succession of sequences and series traversing time, dormant in some periods, awakened during others. Dormant series can be awakened by certain catalysts that cause them to reappear. I would like to argue that Kubler's own ideas were likewise catalysts, awakening different series both in art and architecture. His concept of Plain Architecture (1972) was re-appropriated and became ubiquitous in the discourse of Portuguese architects. It was also appropriated by the artist Juan Downey in artworks referring to the dynamics of economic crisis and artistic practice in 1970s New York. Art history scholarship has recently witnessed renewed interest in Kubler's role, given the fact that his work had bearing on 1970s artistic figures such as Robert Smithson, Donald Judd and Robert Morris. This essay expands the gamut, addressing Kubler's collaboration with Juan Downey. |
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| Autores principais: | Santos, Eliana Sousa |
| Ano: | 2014 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Coimbra |
| Idioma: | inglês |
| Origem: | Estudo Geral - Universidade de Coimbra |
| Resumo: | In The Shape of Time (1962), George Kubler characterized the history of objects as a succession of sequences and series traversing time, dormant in some periods, awakened during others. Dormant series can be awakened by certain catalysts that cause them to reappear. I would like to argue that Kubler's own ideas were likewise catalysts, awakening different series both in art and architecture. His concept of Plain Architecture (1972) was re-appropriated and became ubiquitous in the discourse of Portuguese architects. It was also appropriated by the artist Juan Downey in artworks referring to the dynamics of economic crisis and artistic practice in 1970s New York. Art history scholarship has recently witnessed renewed interest in Kubler's role, given the fact that his work had bearing on 1970s artistic figures such as Robert Smithson, Donald Judd and Robert Morris. This essay expands the gamut, addressing Kubler's collaboration with Juan Downey. |
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