According to Frank Stella and Donal

According to Frank Stella and Donald Judd, they occupied, the intent on throwing the viewer’s attention toward these simple, three- dimensional objects back upon itself.

On the Museum’s Ruins, the influential account of contemporary art’s critique of the museum, the critic Douglas Crimp recounts this ‘attack on the prestige of both artist and artwork’ in favour of the spectator’s ‘self- conscious perception of the minimal object’ (Crimp 1993)

Arguing that it was this very ‘condition of reception’ which ‘came to be known as site specificity’, he concludes that minimalism’s radicalism ‘lay not only in the displacement of the artist-subject by the spectator-subject but in securing that displacement through the wedding of the artwork to a particular environment’ (Crimp 1993: 16–17).

ผลลัพธ์ (อังกฤษ) 2:

According to Frank Stella and Donald Judd, they Occupied, The intent on throwing The Viewer's Attention toward these Simple, Three- dimensional Objects back upon Itself. On The Museum's Ruins, The influential account of Contemporary Art's critique of The Museum, The Critic Douglas Crimp. recounts this 'Attack on The Prestige of Both artist and artwork' in favor of The spectator's 'Self Conscious perception of The Minimal object' (Crimp 1993) Arguing that it was this very 'condition of reception' which 'Came to be Known As. site specificity ', he concludes that minimalism's radicalism' lay not only in the displacement of the artist-subject by the spectator-subject but in securing that displacement through the wedding of the artwork to a particular environment '(Crimp 1993: 16-17). .

ผลลัพธ์ (อังกฤษ) 3:

According to Frank Stella and Donald, occupied Judd they, intent the on throwing the viewer 's attention toward, these simple. Three - dimensional objects back upon itself.

On the Museum ', s Ruins the influential account of contemporary art s critique.' Of, the MuseumThe critic Douglas Crimp recounts this' attack on the prestige of both artist and artwork 'in favour of the spectator s.' 'self - conscious perception of the minimal object' (Crimp 1993)

Arguing that it was this very 'condition of reception.' Which 'came to be known as site specificity',He concludes that minimalism 's radicalism' lay not only in the displacement of the artist-subject by the spectator-subject. But in securing that displacement through the wedding of the artwork to a particular environment '(Crimp 1993: 16 - 17).