O'Doherty - Inside the white cube, Appunti di Storia Dell'arte

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 Nowadays the ceiling is no longer considered as it was during the Renaissance or the Baracco. During modernism this is simply gone if not thanks to the use of indirect light which treats the ceiling like the Color Field.
 
 1938, L’exposition International du Surrealisme at the galerie de Beaux-Arts, Duchamp covers the ceiling with 1200 Bags of Coal. The discreet work at a spatial level was intrusive from a psychological point of view> Duchamp turned the show upside down forcing visitors to stand up with their heads up. For the first time the importance of the context was stripped naked by the artist. Duchamp was the first to think of the exhibition space as an entity in itself that lent itself to manipulation as a showcase.
 
 These projects raise the issue of the survival of the ephemeral, as documents and photos present an already dead art. So O'Doherty asks who these projects were designed for [1200, Bags of Coal and Mile of strings] created by Duchamp?
 
 With Mile of string Duchamp laid siege to the public which is located within a limiting exhibition space which is a representation of the same limit as painting. Reducing box space is one of the formal points of Duchamp's art: containment-interior-exterior. Hostility towards the public is one of the key elements of modernism and artists could be classified according to the intelligence, style and depth with which they show it. > hostility creates a conflict over the values of art and lifestyle.
 
 The artist-public relationship can be interpreted as a challenge to the social order through radical purposes then reabsorbed by the institutional system> this happens through style> in the avant-gardes through physical discomfort, noise and the elimination of reference points came to express the total transgression of logic.
 Post-modernism brings the artist closer to the viewer by making them similar. The gallery has maintained its reputation of contradiction. The gallery is a limbo between the studio and the living room, where the conventions of both meet on neutral ground. But the art of late modernism in reality and dominated by the largely unconscious assumptions of the bourgeoisie > this corrupt system of commodification of art led in the 70s into the true attitude against the art system > art in fact is presented with heterogeneous styles and no longer from painting and sculpture.
 
 With postmodernism the exhibition space loses its neutrality> the white wall acquires aesthetic values and commercial values, its neutrality is pure illusion. It represents a collective with common ideas and assumptions. The development of the immaculate and identity-free white cube is one of the triumphs of modernism: a commercial, aesthetic and technological development. Art is increasingly exposed to being a mirror of impure society> trade and aesthetics, artist and public, ethics and opportunism. At the time of modernism, the exhibition space was not perceived as a merchant space. > today, on the contrary, we live in a rather disinterested situation of contradiction.
 
 The reflection on the art system states O’Doherty is favored of the European environment in that, unlike the US, which is constantly renewed, it is more able to reflect on social and historical characteristics. 
 According to Mondrian when the work is stripped of any object the world is placed in a balanced opposition with it, since both have been purified.
 Since the walls represent a subordinate nature, those who occupy the room are in turn encouraged to transcend their brutal nature. With the unification of architecture, sculpture and painting, a non-utilitarian but pure and complete space will be created in its beauty.