The Organic Line. Questo articolo non è disponibile.
Lingua: inglese
Editore: Zone Books Okt 2024, 2024
- Rilegato
- Nuovo

Da: BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, GermaniaBuchWeltWeit Ludwig Meier e.K.
Venditore AbeBooks dal 11 gennaio 2012
Condizione: Nuovo
EUR 44,00
Descrizione dell’articolo da parte del venditore
Neuware -A major rethinking of twentieth-century abstract art mobilized by the work of Brazilian artist Lygia ClarkWhat would it mean to treat an interval of space as a line, thus drawing an empty void into a constellation of art and meaning-laden things In this book, Irene Small elucidates the signal discovery of the Brazilian artist Lygia Clark in 1954: a fissure of space between material elements that Clark called "the organic line." For much of the history of art, Clark’s discovery, much like the organic line, has escaped legibility. Once recognized, however, the line has seismic repercussions for rethinking foundational concepts such as mark, limit, surface, and edge. A spatial cavity that binds discrepant entities together, the organic line transforms planes into flexible topologies, borders into membranes, and interstices into points of connection. As a paradigm, the organic line has profound historiographic implications as well, inviting us to set aside traditional notions of influence and origin in favor of what Small terms weak links and plagiotropic relations. These fragile, oblique, and transversal ties have their own efficacy, and Small’s innovative readings of canonical modernist works such as Kazimir Malevich’s Black Square, John Cage’s 4’33", and Le Corbusier’s machine-à-habiter, as well as contemporary works by such artists as Adam Pendleton, Ricardo Basbaum, and Mika Rottenberg, reveal the organic line’s remarkable potential as an analytic instrument. Mobilizing a rich repertoire of archival sources and moving across multiple chronologies, geographies, and disciplines, this book invites us to envision modernism not as a stable construct defined by centers and peripheries, inclusions and exclusions, but as a topological field of interactive, destabilizing tensions. More than a history of a little-known artistic device, The Organic Line: Toward a Topology of Modernism is a user’s guide and manifesto for reimagining modern and contemporary art for the present. 462 pp. Englisch.…
Codice articolo 9781890951993
- Titolo
- The Organic Line
- Autore
- Irene V. Small
- Editore
- Zone Books Okt 2024
- Anno di pubblicazione
- 2024
- Condizione
- Neu
- Rilegatura
- Buch
- Lingua
- inglese
- ISBN 10
- 1890951994
- ISBN 13
- 9781890951993
- Peso dell'articolo
- 1060 grammi
- Dimensioni
- 234x159x42 mm
A major rethinking of twentieth-century abstract art mobilized by the work of Brazilian artist Lygia Clark
What would it mean to treat an interval of space as a line, thus drawing an empty void into a constellation of art and meaning-laden things? In this book, Irene Small elucidates the signal discovery of the Brazilian artist Lygia Clark in 1954: a fissure of space between material elements that Clark called “the organic line.” For much of the history of art, Clark’s discovery, much like the organic line, has escaped legibility. Once recognized, however, the line has seismic repercussions for rethinking foundational concepts such as mark, limit, surface, and edge. A spatial cavity that binds discrepant entities together, the organic line transforms planes into flexible topologies, borders into membranes, and interstices into points of connection. As a paradigm, the organic line has profound historiographic implications as well, inviting us to set aside traditional notions of influence and origin in favor of what Small terms weak links and plagiotropic relations. These fragile, oblique, and transversal ties have their own efficacy, and Small’s innovative readings of canonical modernist works such as Kazimir Malevich’s Black Square, John Cage’s 4’33”, and Le Corbusier’s machine-à-habiter, as well as contemporary works by such artists as Adam Pendleton, Ricardo Basbaum, and Mika Rottenberg, reveal the organic line’s remarkable potential as an analytic instrument. Mobilizing a rich repertoire of archival sources and moving across multiple chronologies, geographies, and disciplines, this book invites us to envision modernism not as a stable construct defined by centers and peripheries, inclusions and exclusions, but as a topological field of interactive, destabilizing tensions. More than a history of a little-known artistic device, The Organic Line: Toward a Topology of Modernism is a user’s guide and manifesto for reimagining modern and contemporary art for the present.
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