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The movement introduced Kineticism across several forms of art, including painting, drawing, and sculpture, and many of its artists aspired to work with ever newer and more public media in order to bring Kinetic art to a wide audience.
"Art and Objecthood" presents a polemic for artists experimenting with kineticism as an expression of time because, as Fried argues, duration reduces sculpture to a spectacle of theatricality, which resists a modern definition of a work of art.
Artist's works are useful for considering that a key affect of kineticism in art is the ability to express and explore conceptions of temporality through various technological media.
Therefore, rather than a chronophobic reading of Tinguely's works, Homage to New York and A Study for an End of the World II are useful for building sensitivity to kineticism as a tool for exploring the expression and regulation of time with technological media in art.
Here, the term "kinetic" is coded as a historical and formal experimentation with an industrial machine aesthetic in art, one that began as early as Naum Gabo's Kinetic Construction: Standing Wave and Laaszlo Moholy-Nagy's Light Space Modulator (1922-1930), and reached a climax in popularity in Europe and the United States in the 1960s.3 Kineticism is not, however, often nostalgically remembered as a trend "rooted in another age."4
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