serial space as aspectual space
Inhabiting what the artist has dubbed “pedestrian space”—the ordinary matter-of-fact space coextensive with that of the spectator and of the site—the sculptures reveal themselves over time, from different vantages, and according to different perspectives. They address themselves to the particular space and time that they’re in. They are constructed in time slowly, and any apprehension of the works involves a process of kinesthetic viewing, a phenomenological experiencing of each piece in situ. The body of work is informed by a signature style and yet, as a result of the close interdependence of each piece with the architectural site in which it is realized, ever different in its manifestations. Lynne Cook on Fred Sandberg
In relentlessly probing issues of similarity and difference, likeness and identity, Judd required that each of his works be closely and attentively scrutinized. The recognition of the specificity of each element informs the viewer’s appreciation of the relation of the individual to the collective, of the singular entity to the larger series, and of repetition to order. “Aspectual diversity”—the sequence of distinct vantage points required to navigate each work, and to negotiate its multiple faces, in an engagement that necessarily takes place in real time and actual space—plays a fundamental role in the apprehension of his work. Lynne Cook on Donald Judd
The spectator experiences an object in space through time, through duration, and through multiple perspectives. Through physical awareness in relation to space, place, time, movement, the spectator’s vision is peripatetic and spatial. It is not reduced to framing a singular moment. Appearances change radically as the viewer explores each element in the sequence. The sequence, or seriality, of distinct vantage points takes place in real time and real space, and allows the construction and translation of place. As a result of these multiple perspectives, the spectator is provided an "exploration of extended duration."
Dependent on multiplicity and seriality, this “pedestrian space” concerns orientation and movement. Multiple vantage points are constructed from similarity and difference. In these “multipartite entities,” the differences between parts are the subjects of the composition.
Multiplicity constructs multidimensionality and multiple realities. I am interested in using fragments and wholes to build space through multiple views and multiple times. The translation of 3D space into 2D space, which retains the sense of spatiality and multiplicity, is the means with which I plan to study this. Utilizing isolated moments framed through the passage of time constructs a cohesive experience. Just as a building has a circulation spine which is not an particular instance but an integrated addition of individual parts, I hope to expand the moment and construct tangible time through the multiple layering of fragments.
In relentlessly probing issues of similarity and difference, likeness and identity, Judd required that each of his works be closely and attentively scrutinized. The recognition of the specificity of each element informs the viewer’s appreciation of the relation of the individual to the collective, of the singular entity to the larger series, and of repetition to order. “Aspectual diversity”—the sequence of distinct vantage points required to navigate each work, and to negotiate its multiple faces, in an engagement that necessarily takes place in real time and actual space—plays a fundamental role in the apprehension of his work. Lynne Cook on Donald Judd
The spectator experiences an object in space through time, through duration, and through multiple perspectives. Through physical awareness in relation to space, place, time, movement, the spectator’s vision is peripatetic and spatial. It is not reduced to framing a singular moment. Appearances change radically as the viewer explores each element in the sequence. The sequence, or seriality, of distinct vantage points takes place in real time and real space, and allows the construction and translation of place. As a result of these multiple perspectives, the spectator is provided an "exploration of extended duration."
Dependent on multiplicity and seriality, this “pedestrian space” concerns orientation and movement. Multiple vantage points are constructed from similarity and difference. In these “multipartite entities,” the differences between parts are the subjects of the composition.
Multiplicity constructs multidimensionality and multiple realities. I am interested in using fragments and wholes to build space through multiple views and multiple times. The translation of 3D space into 2D space, which retains the sense of spatiality and multiplicity, is the means with which I plan to study this. Utilizing isolated moments framed through the passage of time constructs a cohesive experience. Just as a building has a circulation spine which is not an particular instance but an integrated addition of individual parts, I hope to expand the moment and construct tangible time through the multiple layering of fragments.
posted by agnes at 11:06 AM
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