11/24/2023 0 Comments Blush blush game galleryYet it has no limits.” But its implications for the gallery space were profound. Yves Klein’s gesture at the Galerie Iris Clert on April 28, 1958, may have been in search of “. And it comments on the wider context-street, city, money, business-that contains it.įirst gestures have a quality of blundering, indicating an imperfect consciousness. It comments on the “art” within, to which it is contextual. The gallery’s implicit content can be forced to declare itself through gestures that use it whole. To present the content of that space leads to Zen questions: When is a Void a plenum? What changes everything and remains itself unchanged? What has no place and no time and yet is period? What is everywhere the same place? Once completed by the withdrawal of all apparent content the gallery becomes a zero space, infinitely mutable. Is the empty gallery, now full of that elastic space we can identify with Mind, modernism’s greatest invention? Art became what was deposited therein, removed and regularly replaced. The white cube became art-in-potency, its enclosed space an alchemical medium. Its walls became ground, its floor a pedestal, its corners vortices, its ceiling a frozen sky. Gradually, the gallery was infiltrated with consciousness. No longer confined to a zone around the artwork, and impregnated now with the memory of art, the new space pushed gently against its confining box. All impediments except “art” were removed. ![]() The new god, extensive, homogeneous space, flowed easily into every part of the gallery. Collage flopped out of the picture and settled on the floor as easily as a bag lady. As the frame dropped off, space slid across the wall, creating turbulence in the corners. The pedestal melted away, leaving the spectator waist-deep in wall-to-wall space. In the art itself, a trinity of changes brought forth a new god. ![]() The value of an idea is proved by its power to organize the subject matter.įROM THE ’20s TO THE ’70s, the gallery has a history as distinct as that of the art shown in it.
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