• Login
    View Item 
    •   Athenaeum Home
    • University of Georgia Theses and Dissertations
    • University of Georgia Theses and Dissertations
    • View Item
    •   Athenaeum Home
    • University of Georgia Theses and Dissertations
    • University of Georgia Theses and Dissertations
    • View Item
    JavaScript is disabled for your browser. Some features of this site may not work without it.

    Form as content

    Thumbnail
    Date
    2008-12
    Author
    Barratt, Caroline Cason
    Metadata
    Show full item record
    Abstract
    In American sculpture of the 1960s, the form of the cube appears frequently and is often seen as an emblem of the Minimalist movement. For the most part, this commonality can be said to reflect Minimalist artists’ collective preference for basic shapes and geometric austerity. Yet, for all the critical attention paid to the Minimalist cube, one possibility has rarely been explored in print: namely, the relationship these cubes might share with the emerging discourse of institutional critique. Although an explicit association of the gallery with the cube would not appear in print until 1976, some artists’ made this analogy much earlier, even if this connection was not their stated intention. This thesis explores a new interpretation of the Minimalist cube, focusing on it as an unrecognized participant in the contemporaneous phenomenon of art as institutional critique, in the work of Robert Morris, Eva Hesse, Paul Thek, and Lucas Samaras.
    URI
    http://purl.galileo.usg.edu/uga_etd/barratt_caroline_c_200812_ma
    http://hdl.handle.net/10724/25120
    Collections
    • University of Georgia Theses and Dissertations

    About Athenaeum | Contact Us | Send Feedback
     

     

    Browse

    All of AthenaeumCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects

    My Account

    LoginRegister

    About Athenaeum | Contact Us | Send Feedback