A multicultural look at space and form
➤ Gửi thông báo lỗi ⚠️ Báo cáo tài liệu vi phạmNội dung chi tiết: A multicultural look at space and form
A multicultural look at space and form
Note to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form resting Thing That Can be Done With Representation," is forthcoming in a book on the artist Vik Mttifiz.Portions not required for "Issues in Visual and Critical Studies " are ill red.This text was originally posted on www.jameselkins.com.Please send all comments, etc., to jelkins@artic.edu.This text A multicultural look at space and form should be read onscreen: there are embedded links to illustrations, marked “(plate)." Some are noted as “not available." I recommend skipping over thA multicultural look at space and form
ose sections: the text is legible without them.Revised October 2005.The pages that follow ate from a work ill progress, a book called The Visual: How Note to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form Those books, which proliferate in all languages, are nearly always based on a rudimentary pedagogy of form, color, space, motion, and texture In such textbooks, linear perspective is inevitably introduced as the centerpiece of the Western arcliievement in visual art. It was perspective, so these tex A multicultural look at space and form tbooks say. that allowed artists to develop realism and to represent the physical world in a quantitative, systematic fashion. Although such rudimentaA multicultural look at space and form
ry instruction IS often Ignored by professional art historians. It is compatible with much of what the discipline currently does. Monographic accountsNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form ctive at the expense of the many other representational forms developed worldwide."I do not tliink The Visual will collect that imbalance, and I am not even convinced that it is correct to call it an imbalance. Linear perspective is a unique project, and I do not believe that a lengthy, sympathetic A multicultural look at space and form description of some other denotative system can realistically hope to replace the interest that perspective continues to attract What I do hope The ViA multicultural look at space and form
sual will do is show students, light from the beginning, that there is a tremendous amount outside of normative Western scholarship that is genuinely Note to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form abstract. If we are talking about a particular picture, say Mu Ch’i's famous ink painting of persimmons, then we can say certain things about the space, and about the forms in it.The space in this painting, for instance, might be infinitely deep—perhaps it is a bright misty morning, hiding a view of A multicultural look at space and form blue mountains—or it may be paper-thin, no more than a film of dried ink on brittle silk. The persimmons may be as spongy as they were when Mu Ch’i pA multicultural look at space and form
ainted them eight centuries ago, as fluid as the ink and waler he used to paint them. Or they may be fiat, fallen against one another like dried persiNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form often do. to more concrete questions—I might want to ask about the elusive nature of reality in Zen practice, or the Buddhist sense of the transience and eternity of the world. Thinking through space and form to other ideas is a stock in trade in the interpretation of pictures, perhaps even interpre A multicultural look at space and form tation’s most indispensable moment. But instead of continuing down this path let me emphasize the strangeness of what I have just done: I have openedA multicultural look at space and form
the discussion of the picture by talking about not persimmons, inkbrush painting. Mu Ch’i, Zen, or Buddhism in general, but space wnAfimn. Where did tNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form od, that I can just begin by naming them, w ithout thinking them out first?The more carefully you consider this problem, the more you will be dragged away from the picture and pushed up against basic philosophic problems: What is space in any picture, and what do we want to call "space" itself*? And A multicultural look at space and form what is a thing, that can exist in such an imaginary space?’ How is the space in a picture “in" the picture? (And as for sculpture: perhaps the spaceA multicultural look at space and form
around a sculpture an essential part of the sculpture, but what exactly is that space? How far does it extend? Does it envelop the viewer, or glue viNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form d, then you are still thinking about forms in space.) And if it is not possible to imagine space without forms, how do the two depend on one another?Do we know what space or form are? Do we know what they are in pictures?These are the kinds of questions that sound simple, or vague—but they lie at th A multicultural look at space and form e heart of everyone's ideas of what visual art is about. Artists, critics, and historians continually use words like form, object, shape, and space, bA multicultural look at space and form
ut the abstract tenor of the questions 1 have just asked sounds a little eccentric because those words are normally Used to talk about particular artwNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form e ideas silently guide peoples* thinking and writing. For that reason alone it may be worthwhile to pause try to think about the words themselves and how we want to put them to work.I find it is a good generalization to say that, in the twentieth century at least, space tends to come before form, sp A multicultural look at space and form ace may be the great topic of modern art. and it is difficult to find writing on architecture, photography, painting, or sculpture that does not depenA multicultural look at space and form
d heavily on the idea that space is what makes visual art possible. Buildings are said to construct space, pictures to depict it, and sculptures to moNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form pace, and then they try to say what the artwork has done with that space. Space is a natural first term in many discussions on art.Yet there are reasons to wonder about this. (Notice, for example. I just used the phrase "empty space.” But isn't space empty by definition?)) It can be shown that the-5 A multicultural look at space and form -preoccupation with space is typical of the twentieth century. In past centuries critics didn't need to bring up space as frequently as twentieth-centA multicultural look at space and form
ury writers did. The architectural historian Peter Collins has made an important observation about this: "it is a curious fact." he writes, “that untiNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form buildings, sculpture, painting, photography, or any other medium of art. without mentioning space. "Space" is a relatively new word, but it is taken to be both universal and unproblematic.So it seems best to be cautious about space, especially when it comes to studying artworks made before the twen A multicultural look at space and form tieth century. In this chapter I will go at this problem first by making an eclectic survey of kinds of space in visual art. trying not to emphasize wA multicultural look at space and form
hat seems to be common or proper. The single most important and universal kind of space in visual art. perspectival space, is a kind of roadblock to sNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form widen the question and show how perspectival space does not have hegemony over the concept of space—and how spaces, in the plural, are more involved and less understood than they might seem.Toward the end of the chapter I will have two further points to make: one is that all such talk about space i A multicultural look at space and form s flawed, since it does not present space and form as coeval partners, equally involved in the creation and meaning of art: and the other is that no mA multicultural look at space and form
atter how-reflective we are about spaces and forms, there is no adequate way of addressing space or form in artworks, since artworks spill out uncontrNote to readers: this is excerpted from a work III progress called The Visual: How it is Studied. The second half of this text, titled “The Most Inter A multicultural look at space and form do not know about them and simply begin, as 1 did here, with some particular painting.PERSPECTIVAL SPACE, EVERYDAY SPACE.PSYCHOPHYSIOLOGICAL SPACE, IMAGINARY SPACECertainly the cornerstone of the current Western sense of space is perspectival space—that which is generated by applying the rules of li A multicultural look at space and form near perspective. (A perspective picture is immediately recognizable by its receding lines but it is not easy to tell when a-6-picture is in correct pA multicultural look at space and form
erspective. The great majority of photographs, movies, billboards, and magazine advertisements are in correct perspective.)Art historians tend to sayGọi ngay
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