2011.14.a-y, Daniel Buren, Framed/Exploded/Defaced | DMA Staging Content Management System

GENERAL DESCRIPTION

This system-based work is an ingeniously conceived project that takes the dimensions of the wall it is installed on for its spatial composition. Each of the twenty-five framed prints occupies the space assigned to it by the artist's stipulation that the works be placed at uniform distances from one another after being installed at the outer edges of the wall itself. Daniel Buren is one of the major figures of Conceptual Art. Since the 1960s, he has created works that define the areas in which they are installed, but oftentimes they may not appear to be art at all. Here, the illusion of an infinite field behind the wall is made by the alignment of Buren's signature generic stripes, yet it is also undercut by the very matter-of-fact nature of the identically shaped and framed prints.

Adapted 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, 156.
Charles Wylie, Big New Field: Artists in the Cowboys Stadium Art Program, 2010.

NOTES

did not get object file, no provenance, no TMS work, HAB

Catalogue essays

Artist/designers

Cultures

Geography

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS

PROVENANCE

AUDIO ASSETS

VIDEO ASSETS

IMAGE ASSETS

WEB RESOURCES

Metropolis Mag~Read an interview with Daniel Buren where he discusses his famous stripes.

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES

Apply to objects where number equals 2011.14.a-y

General Description

This system-based work is an ingeniously conceived project that takes the dimensions of the wall it is installed on for its spatial composition. Each of the twenty-five framed prints occupies the space assigned to it by the artist's stipulation that the works be placed at uniform distances from one another after being installed at the outer edges of the wall itself. Daniel Buren is one of the major figures of Conceptual Art. Since the 1960s, he has created works that define the areas in which they are installed, but oftentimes they may not appear to be art at all. Here, the illusion of an infinite field behind the wall is made by the alignment of Buren's signature generic stripes, yet it is also undercut by the very matter-of-fact nature of the identically shaped and framed prints.