WORK OF ART
The minimum requirement of esthetic identity in a work of art has been legibility as an object, a degree of compactness (so that the object is united, composed, stable). In the 'sixties, a number of non-compact art forms (diffuse or nearly imperceptible) have proliferated. It is the expansion or diminution of art as a solid structure that I want to describe. The interface (cross-over point, junction) of art and other things has blurred. (This tendency has been discussed as "The Dematerialization of Art." 1.) New control methods devised by artists lead to recognition-problems for spectators.
I propose a cluster of seven items: (1) the function of the cliché, (2) the mode of intimacy, (3) permissive configurations, (4) exteriority, (5) occupancy of places, (6) conceptualization, and (7) diffuse systems.
The use of the cliché in context of art connects public signs with personal systems. Clichés dissolve formal boundaries (as in Roy Lichtenstein). Alain Robbe-Grillet: "The integration in a plastic work of, on the one hand, the objects belonging to an acquisitive society and, on the other, the comic strips." 2.
2.1. Claes Oldenburg: "I am for an art that unfolds like a map, that you can squeeze, like your Sweety's arm, or kiss, like a pet dog. Which____________________