Art And Architecture Essays Example

Neo- Concrete Manifesto

Fuller’s neo-concrete manifesto presents a new and interesting perspective from which one can look at art. He draws examples from the works of renowned neo-concrete artists and many others to articulate his point of view, which is in sharp conflict with the modern belief that modern art must be non-geometric and nonfigurative. Neo-concrete artists abhor the mechanical notions that have been associated with modern art. Neo-concrete ideologues seek to advance that the most important thing in a piece of art is the expression it conveys. Interpreting such expression, therefore, must not be influenced by geometry, physics or any form of art that might be viewed as attempting to rationalize a piece of art. He points out those artists like Mondrian overcame the various limits that were imposed by geometry and other theories in order to express themselves freely and effectively in a way they best could. According to Fuller, the works of such artists can only be examined without putting into consideration such scientific theory. It is only then that their full meaning will be understood.
He gives illustrations using the works of Vantongerloo as well as Pevsner, both of whom were great artists who left indelible mark in the world of arts. Drawing from the works of these artists, the manages to isolate the arithmetic equation behind artworks from their innate value that can only be realized by doing away with the figures and geometry that make up every part of an art work. He states that despite the complexities often associated with art, it is the actual colors and rhythms apparent on the body of the artwork that can sufficiently define their meaning.
E describes the attempt to interpret arts within the realms of arithmetic and science as rationalism. This he says robs art of its original and pure meaning. He decries this theoretical approach which he associates with those who do not understand the essence of art and are, therefore, bent on turning it into a science.
In his manifesto, fuller moves to protect art from being corrupted by other bodies of knowledge by placing it in its own niche where it can enjoy autonomy. The researchers in neo-concrete art depart from the concept of autonomy of art from science in their effort to delink arts from physics, geometry, and other subjects which have always been applied in the interpretation of art.
Ladagga largely disagrees with the position fuller takes on the role of geometry in the appreciation and interpretation of art. He writes that geometry embodies a deeper meaning that, if uncovered, could give a clearer meaning to the intention of the artists, and eventually the overall message meant to be passed by a piece of art. He faults Gullet’s position concerning the question of the artist’s intention and how the same influences the. Ladagga also says that Guller’s assertion that art cannot be divided into components such space and time are deceptive.

Bibliography

Gullar, F, (1956), Neo-Concrete Mnifesto, London: Yale University Press.
Lucie-Smith, Edward. ‘‘Latin American Art of the 20th Century. New York: Thames & Hudson, 2004. 121, 137.
Reinaldo, L (2013), A Tenebrous Inexactitude, MNCARS Publications Department and TURNER.