Jump to ContentJump to Main Navigation
Almost NothingObservations on precarious practices in contemporary art$
Users without a subscription are not able to see the full content.

Anna Dezeuze

Print publication date: 2017

Print ISBN-13: 9780719088575

Published to Manchester Scholarship Online: May 2017

DOI: 10.7228/manchester/9780719088575.001.0001

Show Summary Details
Page of

PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 22 May 2022

‘At the point of imperceptibility’

‘At the point of imperceptibility’

(p.78) 2 ‘At the point of imperceptibility’
Almost Nothing

Anna Dezeuze

Manchester University Press

This chapter hinges on a comparison between George Brecht’s 1961 concept of a ‘borderline’ art ‘at the point of imperceptibility’ and the concerns with invisible forces and energies of an international group of kinetic artists, associated with the Signals Gallery in London between 1964 and 1966. While the evolution of Brecht’s work from 1957 to 1962 was shaped by a search for the concrete and the changeable in which other ‘junk’ artists, such as Allan Kaprow, were engaged at the time, the Signals Gallery artists were more closely linked to a trajectory of abstract and constructive art. Nevertheless, both the Signals Gallery artists and Brecht shared a similar desire to create experimental forms that would reflect a new vision of reality, inflected by both scientific discoveries and Zen Buddhism. In particular, the issue of perception was closely tied to the role of the spectator, whether in Brecht’s participatory ‘arrangements’ and ‘borderline’ event scores or Lygia Clark’s manipulable sculptures and her conception of an ‘art without art’. Brecht’s work is shown to have contributed to Allan Kaprow’s reflections on precarious ‘activities’, while both the artists’ work impacted Lawrence Alloway’s definition of an ’expanding and disappearing’ artwork in the late 1960s.

Keywords:   Kinetic art, ‘borderline’ art, Immaterial, Invisible, Event scores, Happenings, Dematerialisation, Zen Buddhism

Manchester Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.