Leitura_Inside the White Cube

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Inside the Withe Cube: The Ideology of the Gallery Space
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Bibliografia
‪No Interior Do Cubo Branco – a Ideologia Do Espaço Da Arte‬
Brian O’Doherty
‪Martins Fontes‬, 2002 – ‪138 páginas‬
– O artista, crítico, escritor e diretor de filmes Brian O’Doherty escreveu este ensaio em 1976, publicado pela revista Artforum numa série de três artigos. Desde então, a expressão “cubo branco” virou jargão entre artistas, críticos e galeristas. O livro analisa (e ironiza) o espaço onde a arte é exibida – a galeria modernista – sobre o objeto artístico e, consequentemente, sobre a visão do espectador. O’Doherty descreve o espaço da galeria moderna como sendo quase sempre um cubo de janelas lacradas, pintado de branco, com luz vinda do teto. A partir da galeria como tema O’Doherty analisa o olhar, o espectador, a moldura, o mercado, e compara artistas, intervenções, citando exemplos de Duchamp, Mondrian, Lissitzky, Warhol, entre outros.

Iniciando a pesquisa das primeiras referências para o meu Tcc, li ‘No Interior Do Cubo Branco – a Ideologia Do Espaço Da Arte‬’ de Brian O’Doherty e fiz um resumo indicando os pontos mais importantes da leitura.

In order to start this research I read the iconic book “Inside the Withe Cube: The Ideology of the Gallery Space” written by Brian O’Doherty. Here are listed some great highlights:

p.7.
– O’Doherty describes the modern gallery space as “constructed along laws as rigorous as those for building a medieval church.” The basic principle behind these laws, he notes, is that “The outside world must not come in, so windows are usually sealed off. Walls are painted white. The ceiling becomes  the source of light. . . The art is free, as the saying used to go, ‘to take on its own life.’ ” The purpose of such a setting is not unlike the purpose of religious buildings-the artworks, like religious verities, are to appear “untouched by time and its vicissitudes.
p.10
– Ives klein- empty gallery “the void“ (le vide), 1958 x  Armam, The full (le plein) 1960 > http://www.theartstory.org/artist-arman-artworks.htm
p.11
-forma platônica dos modernistas de ver as coisas (idealizando outro mundo, não esse) – simulacro. Plato x modern point of view. Ideal world. Simulacrum.
p.12
– defenses the real life of the world against the steralized operating room of the white cube – defenses the time and change against the mith of eternality and transcendence of pure form.
– the individual is replaced by the race.
p.13
– life is horizontal
p.14
– conventions are preserved through the repetition of a closed system of values.
– the gallery is constructed along rigorous laws.
– odd objects > eyes and mind are welcome while the odd is superflous.
p.15
– continous n’ categorizable spaces, limits are stablished and framed (p.17)
p.24
– the relation between the picture plane and the underlying wall is very pertinent to the esthethics of the surface.
p.26
– system dominate academy history.
– the eye and the spectator
p.35
– etiquette of normal social discourse
– the viewer is continually introduced to the wall
p.37
– modernism’s spaces redefines the observer’s status.
p.38
– the gallery contains a wandering phantom > the spectator (viewer, observer, perceiver)…the spectator seems a little dumb….caught between ambiguities.
p.40
– the eye can be treined in a way the spectator cannot.
p.44
– merzbau (by Schwitters)> transformation – relocation – contextual > 1st example of a gallery as a chamber of transformation.
p.46
–  happenings > notheatrical spaces. – simultaneous events.
p.49
– Pollock > the spectator brings it (picture plane, color) into real space where anything can happen.
p.51
– tridimensionality > the eye apreehended the object at once, then the body bore the eye around it…the eye and spectator wore not fused but cooperated for the occasion.
p.51
– experience meant as “having good time”.
p54
-feeling is turned into a consumer product.
-the acknowledge that our identity is itself a fiction.
p.63
– conceptualism > eliminates the eye > mind first

III context as content
– ceiling gets important-functional
-1200 bags of coal –  Duchamp, 1938
p.68
– gesture is a form of invention. They only can be done once.
p.72
– Duchamp‘s art > containment\inside \outside
p.73
– style in art is equivalent of etiquette in society
p.75
– classic modernist gallery is the limbo between studio and living room, where conventions of both meet on a carefully neutralized ground.
p.78
– the white wall’s apparent neutrality is an illusion.
p.80
– genuine alternatives cannot come from within this space.

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