GENERAL DESCRIPTION
Daniel Buren began using stripes in the mid-1960s as a way of voiding his work of all representational or expressive references. The stripes, each painted to be exactly 8.7 centimeters wide, were created to mimic the stripes on commercial awnings. Initially painting them, he eventually began purchasing readymade striped fabrics in order to further eliminate his artistic hand and achieve “degree-zero”—paintings fully void of any illusion or intrinsic value. Buren recognized that if a painting itself has no intrinsic value, then its value and meaning as an object are derived entirely by its location and context. Thus placing his striped works in a gallery or museum served to reveal the structures of art, pointing to the institutional function of the exhibition space in dictating what constitutes a work of art.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 206.
NOTES
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.
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PROVENANCE
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WEB RESOURCES
- Guggenheim~Learn about Buren's site-specific method of working through discussion questions and extended information.
- Musée d'Art Moderne Grand-Duc Jean, Luxembourg~Explore Buren's site-specific critique of and intervention in the Musée d'Art Moderne's architecture.
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Apply to objects where number equals 2012.35.A-F
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General Description
Daniel Buren began using stripes in the mid-1960s as a way of voiding his work of all representational or expressive references. The stripes, each painted to be exactly 8.7 centimeters wide, were created to mimic the stripes on commercial awnings. Initially painting them, he eventually began purchasing readymade striped fabrics in order to further eliminate his artistic hand and achieve “degree-zero”—paintings fully void of any illusion or intrinsic value. Buren recognized that if a painting itself has no intrinsic value, then its value and meaning as an object are derived entirely by its location and context. Thus placing his striped works in a gallery or museum served to reveal the structures of art, pointing to the institutional function of the exhibition space in dictating what constitutes a work of art.
Excerpt from
- Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 206.
Fun Facts
Archival Resources
Web Resources
- Guggenheim~Learn about Buren's site-specific method of working through discussion questions and extended information.
- Musée d'Art Moderne Grand-Duc Jean, Luxembourg~Explore Buren's site-specific critique of and intervention in the Musée d'Art Moderne's architecture.
Notes
Did not get object file- streamlined process, no provenance. CLC, 12/4/18.
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2012.35.A-F
source file
object_notes_1_b-0112.xml.nores