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Reblogged from misanthro-art  3 notes


In this series, I am exploring the art of form and authorship. All the images can be seen out of social context and contain concentric squares as a fundamental theme. Josef Albers made them popular with his 1965 screen print “Homage to the Square”(A). There is no disputing the solidness portrayed by the shape of the square. During that year, Sewell Sillman perpetuated a similar idea in his untitled 1965 work (B).  These both seem to be a study on color since it helps to indicate the direction in which our eyes would travel. Building on the current theme, Frank Stella, in 1967 placed two squares to break focus from the concentric circles in “Harran II” (C). Squares and lines split the imagery up. It can be rearranged while still maintaining the integrity of the original, for in this work, color is not as important as the forms.  

In 1981, an arcade game called “Tunnel Hunt” was released. The promotional poster (D) shows obvious influence from the minimalistic ideals expressed by Albers and Sillman. This begs the question, what constitutes “high-art?” Focus on the orange squares and this can pass for Albers’ work. “Homage to a Homage” (E) is just that, a 2010 homage to what Jaygo Bloom considers to be a crucial minimalistic piece. But who actually started the concentric square concept? Does it matter? Christo attempted to bring focus back to New York’s parks in 2005 with his installation “The Gates” (F). Because of the rigidity of the gates and their seriality, once within them, you get a tunnel effect very similar to the concentric squares carefully crafter by Albers and others, perhaps a happy accident.