Grade zero painting and the principles of in situ work in Daniel Buren
DOI:
https://doi.org/10.5433/2237-9126.2014v8n14p100Keywords:
Daniel Buren, Late capitalism, Institutional critique.Abstract
Amidst the turbulent events of the late 1960s in France, this article discusses the implications of the reduction of painting to its minimal elements, as developed in the work of the French artist Daniel Buren, between the years of 1965-1967. The use of striped canvases, made from prefabricated materials, will be the platform, the “visual tool”, through which the artist will prepare the foundation for their later research, aiming to develop a critique of the various limits to art instituted by the art system.Downloads
Download data is not yet available.
References
ARDAGH, John. France in the 1980s. New York: Penguin Books, 1982.
BELL, Daniel. The cultural contradictions of capitalism. New York: Basic Books, 1976.
BUREN, Daniel. Les écrits 1965-2012: volume I 1965-1995. Paris: Flammarion, 2012.
BUREN, Daniel. Photo-Souvenir 1965-1988. Villeurbane: Art édition, 1988.
CLAIR, Jean. La Grande Misère de L’Art Contemporain en France. La Nouvelle Revue Française, n. 192, dec. 1968.
CROW, Thomas. The rise of the sixties: american and european art in the era of dissent. London: Laurence King Publishing, 2004.
DEBORD, Guy. A sociedade do espetáculo. Rio de Janeiro: Contraponto, 2005.
HARVEY, David. The condition of postmodernity: an enquiry into the origns of cultural change. Oxford: Blackwell Publishers, 1992.
HOBSBAWM, Eric. Era dos extremos: o breve século XX 1914-1991. 2. ed. São Paulo: Companhia das Letras, 1995.
LELONG, Guy. Daniel Buren. Paris: Flammarion, 2002.
MONNIER, Gérard. Des Beaux-Arts aux arts plastiques, une histoire sociale de l’art. Besançon : Éditions la manufacture, 1991.
MUSEE D’ART MODERNE DE LA VILLE DE PARIS. Quatrieme biennale de paris: manifestation biennale et internationale des jeunes artistes. Paris, 1965.
SOLOMON R.GUGGEINHEIM MUSEUM. The eye of the storm. Catalog. New York: 2005
BELL, Daniel. The cultural contradictions of capitalism. New York: Basic Books, 1976.
BUREN, Daniel. Les écrits 1965-2012: volume I 1965-1995. Paris: Flammarion, 2012.
BUREN, Daniel. Photo-Souvenir 1965-1988. Villeurbane: Art édition, 1988.
CLAIR, Jean. La Grande Misère de L’Art Contemporain en France. La Nouvelle Revue Française, n. 192, dec. 1968.
CROW, Thomas. The rise of the sixties: american and european art in the era of dissent. London: Laurence King Publishing, 2004.
DEBORD, Guy. A sociedade do espetáculo. Rio de Janeiro: Contraponto, 2005.
HARVEY, David. The condition of postmodernity: an enquiry into the origns of cultural change. Oxford: Blackwell Publishers, 1992.
HOBSBAWM, Eric. Era dos extremos: o breve século XX 1914-1991. 2. ed. São Paulo: Companhia das Letras, 1995.
LELONG, Guy. Daniel Buren. Paris: Flammarion, 2002.
MONNIER, Gérard. Des Beaux-Arts aux arts plastiques, une histoire sociale de l’art. Besançon : Éditions la manufacture, 1991.
MUSEE D’ART MODERNE DE LA VILLE DE PARIS. Quatrieme biennale de paris: manifestation biennale et internationale des jeunes artistes. Paris, 1965.
SOLOMON R.GUGGEINHEIM MUSEUM. The eye of the storm. Catalog. New York: 2005
Downloads
Published
2014-07-18
How to Cite
Machado, T. (2014). Grade zero painting and the principles of in situ work in Daniel Buren. Domínios Da Imagem, 8(14), 100–114. https://doi.org/10.5433/2237-9126.2014v8n14p100
Issue
Section
Artigos do dossiê
License
Domínios da Imagem adopts the Creative Commons Attribution 4.0 International License, therefore, the copyrights related to the published articles belong to the author(s), who grant the journal the exclusive right of first publication.
Under this license it is possible to: Share - copy and redistribute the material in any medium or format. Adapt - remix, transform, and build upon the material, giving due credit and providing a link to the license and indicating if changes were made.
The works in this journal are licensed under Creative Commons .