NOTES
- Originally published in Artforum (Summer, 1967), the article is reprinted in Michael Fried, Art and Objecthood: Essays and Reviews (Chicago; London: Chicago UP, 1998).
- There was also another sound element, the incongruous sound of Australian birds, coming from a place near the lights—that is, on the other side of the screen to Kaiser's sound piece.
- Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (London; NY: Verso, 1991) 154.
- Fried, Art and Objecthood, 174.
- Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, 27.
- “Here finally I want to emphasize something that may already have become clear: the experience in question persists in time, and the presentment of endlessness that, I have been claiming, is central to literalist art and theory is essentially a presentment of endless, or indefinite, duration.” Fried, Art and Objecthood, 174.
- ibid. 172.
- ibid. 167.
- Rosalind Krauss, Passages in Modern Sculpture (London: Thames and Hudson, 1977) 267.
- Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity (London; NY: Verso, 1995).
- ibid.
- ibid. 104.
- In Curved Space (Seeing Double), part of the introductory monologue to the film Last Year in Marienbad is written on the outside wall of a curved corridor space. The reference is a fascinating one insofar as the film evokes a labyrinth via means of the “non-place” of a hotel's foyer and corridors. Alain Robbe-Grillet, who wrote the screenplay, also famously commented that the various characters of the film could never find their way out of this labyrinth because they were condemned to live in a perpetual present.
- Fried, Art and Objecthood, 168.