Archive for March, 2018

Reading for March 5th

Posted: March 5, 2018 in Readings

I posted this after class the other day. But I accidentally dated it 2017. That’s why you didn’t see it till now. Sorry!

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Michael Fried
(b. 1939)
“Art and Objecthood” (1967)

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Minimalist Sculpture

Posted: March 4, 2018 in Uncategorized
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Tony Smith
Untitled, 1960

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Robert Morris
Untitled (L-Beams), 1965

Carl Andre
Steel Square, 1967

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Donald Judd
Untitled, 1970

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Morris Lewis
(1912 -1962)

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Dalet Kaf (1959)

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Floral V (1959)

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Points Of Tranquility (1959)

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Where (1960)

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Alpha Pi (1960)


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Robert Morris
(b. 1931)

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Untitled (1968)

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Untitled (1969)

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Untitled (1969)

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Untitled (1970)

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Untitled (1973)

“[We] are living in the very world Plato hoped for, conceived, and willed, that is to say a society whose members only ever open a book to experience the purely gratuitous pleasures of the imagination; a world in which literature has lost nearly all power and authority and has become an empty shell merely used to pass the time by a shrinking class increasingly monopolized by many other distractions.”

“Trump originally wanted to hire Sylvester Stallone to head the [National Endowment for The Arts]. Had Stallone agreed, the NEA would likely be safe from budget cuts. Which is to say that each time you binge watch a popular show that you don’t even like, at the expense of reading a decent novel, you’re enacting a Trumpian indifference to literature: entertainment over letters.”

If Michael Fried argues, in “Art and Objecthood” (1967), that the very best abstract formalist paintings and sculptures of the day are absolutely authoritative, in their own right and on their own terms, and stand in no need whatsoever of public approval or applause, . . .

Morris Louis
#11 (1961)

Jules Olitski
Tin Lizzie Green (1964)

Frank Stella
Black Series II (1967)

Yellow Swing 1965 by Sir Anthony Caro born 1924

Sir Anthony Caro
Yellow Swing (1965)

. . . what, then, would Fried want us to make of the ‘music’ of John Cage, Gyorgy Ligeti and Steve Reich?



And, further, what would Fried want us to think of ‘sculptures’ such as those of Richard Serra?

Richard Serra
Tilted Arc (1981)

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Declaration of War

Posted: March 4, 2018 in Uncategorized

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Robert Morris in costume for performance War, in collaboration with Robert Huot,
at Judson Memorial Church, New York, June 23, 1963


Yesterday I attended a two-hour session on the rapidly changing population of Utah. As the state’s official demographer said to us, It’s no longer business as usual here, and there’s simply no going back. Utah will forevermore be a state that is increasingly diverse – in terms of religion, race, ethnicity, place of origin, etc. I came home from the presentation to find this opinion piece below. I’ve been debating its claims with a professor friend of mine in New York. What are your thoughts about divisiveness amongst progressives? Have you seen instances of the exclusion and infighting the describes, or is the writer simply imagining things?

On the upper right, we see a vital and dynamic Christ (by Peter Paul Rubens), animated by internal forces. On the upper left, we see an unmistakably dead Christ (by Matthias Grünewald), whose form (or whatever remains of it) is the result of entirely external forces: wood, nails, and the physical force of gravity.

While the sculptures pictured below the paintings are both non-representational, I think it should be possible to see that the one on the lower right (by Sir Anthony Caro) is nevertheless still abstract; its composition, or syntax, suggest an inner spiritual force which virtually lifts the industrial materials into an exalted state, cancelling or suspending the work’s status as mere object. We can feel the I-beams, rebar, and industrial paint springing to life; hence the piece’s name, Early One Morning. Meanwhile, the piece on the lower left (by Robert Morris), nailed to the wall and sagging under its own unstructured mass, Untitled makes no attempt whatsoever to transcend its status brute material.

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Colleges Assure Prospective Students That Protesting for Gun Control Will Not Affect Their Admission

H2 Lecture Info!

Posted: March 1, 2018 in Uncategorized

Humor-in-Science

Sara K. Yeo, Dept. of Communication

Understanding how communication influences our attitudes toward science is crucial in an age in which we are immersed in media. Online, scientists have used humor to engage public audiences, but there is little research on science humor in general. In this project, my students and I first seek to quantify and characterize the nature of science humor on social media. We also conduct an experiment to test hypotheses about the effects of humor on people’s attitudes toward science and scientists. Please join us for a (humorous) lecture on science, media, and public attitudes!