Sie befinden Sich nicht im Netzwerk der Universität Paderborn. Der Zugriff auf elektronische Ressourcen ist gegebenenfalls nur via VPN oder Shibboleth (DFN-AAI) möglich. mehr Informationen...
Art journal (New York. 1960), 2012-10, Vol.71 (3), p.99
Ort / Verlag
New York: College Art Association, Inc
Erscheinungsjahr
2012
Link zum Volltext
Quelle
Taylor & Francis Online
Beschreibungen/Notizen
An invisible plane was inserted into the room that you walked through; taking up no space of its own it nonetheless cut very tangibly through what already existed.5 Such language of planes is the most common critical device in the Sandback literature.4 While descriptively acute as shorthand - and often, as the above demonstrates, experientially correct - such language risks putting the work's tangible yarn form in die service of the immaterial illusion, and in the process creating a false binary that stabilizes the dynamic range of presences in Sandback's work.5 Sandback's planes, and the work's adamant planarity, constantly shift between sculptural and situational materiality, their reversals a denial of sculptural autonomy and at die same time a questioning of sculptural syntax. Sandback's entry into these debates occurred during a particularly fecund moment: the artist earned his MFA at the Yale School of Art in 1969, and while at Yale he met and studied wim Donald Judd and Robert Morris, among other visiting artists.6 Though many of Sandback's early sculptures in steel rod and elastic cord, which suggest the outline of material solids, hew to Minimalism's specificity, they leave it behind as well, as his objects' internal absence is as forceful as their presence.