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Famous minimalist paintings1/12/2024 The spatial existence can mediate all the formal, physical, material situations and be thought of as a state that reveals the dominance of thinking and perception. The form of creation found through these interrogations may also elucidate the existence of metaphysical space. It was questioned how a design concept based on this ideological background create its own forms. Conclusion: Minimalism tackles the idea of creation beyond the elements it uses. On that sense, it can be said that there is a match between minimalism and the states of space beyond its material and formal existence. Results: It was found that all forms are actually ‘tools of expressing’ in minimalism, and that they have evolved in an intellectual base. Although formally characterized as ‘basic and simple’, it was argued that the qualities of minimalism, which is too complex in its intellectual essence, might also exist in the spatial states of architecture beyond its physical situations. The scope of this review included contemporary discussions, interpretations, and applications of the 1960s, since Minimalism emerged as discourses in the 1960s. Method: Therefore, the study commenced with a literature review on minimalist discourses. This study aimed to borrow some conceptual tools from the theoretical content of minimalism to explain the material and formal existence of such spaces. This type of artwork is so popular because it’s really simple to look at and can also be very expensive depending on the materials used in the art. The Metals – two-dimensional surfaces leaning forward towards the three-dimensional space of reality – are finally a relevant and experimental example of the “extroflection” of post-war Italian painting and sculpture.Īim: It can be said that there is parallelism between architecture’s production of some of its spaces, metaphysical spaces, with the approaches and contents of minimalist thinking. Minimalist artists sell minimalist paintings for top dollar, especially when famous minimalist artists create them like Donald Judd or Carl Andre. Lo Savio’s industrial aesthetic was equally distant from modernist paintings flatness and neo-avant-garde readymades, closer, under this respect, to the Group ZERO. Through his distinctive transition from one medium to another (drawing, painting, sculpture, architecture, design, urbanism), his clear-cut writings on the space-light relationship, and the recollections of other artists and critics, this essay attempts to shed light on the complexity of his work. These objects were and are still largely associated with minimalist aesthetics, although Lo Savio’s art was strongly rooted in pictorial abstraction, the Bauhaus and the utopian avant- garde. In particular, it tackles his sculptural output, the Metalli (Metals), dark deflecting mirrors hanging in balance between painting and sculpture, craftsmanship and industrial design. This text reconsiders the figure of Francesco Lo Savio – a largely unknown Italian artist of the 1950s and 1960s – whose work remains enigmatic, fleeting, misunderstood, undoubtedly underestimated.
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