minimalism 4th hour
TRANSCRIPT
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MINIMALISM
What you see is what you see.
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Robert Smithson—Mirror Stratum, 1966
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Dan Flavin—Untitled (for you, Leo, in long respect and affection) 3, 1978
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Alan Sonfist—Earth Monument to Chicago, 1965-1977
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Characteristics of Minimalism
Primarily sculpture Geometric forms Industrially produced Non-referential Materials appear as materials No distracting colors Gallery and viewer are part of the piece
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Social and Political Background
Minimalism was a product of its time Mass-production Media Conflicts between capitalism and democracy
1960s—a time of radical upheaval and blurring of boundaries
“End” of Minimalism Art business Conservative backlash
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Artistic Context
Minimalism is a reaction to abstract expressionism Rejected romantic exuberance and self-celebration
Pop Art expanded the art world Shared characteristics Popularized art
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Reactions to Minimalism
“Recentness of Sculpture”—Clement Greenberg Minimalism was confusing innovation with novelty
“Novelty Art” has nothing to do with art
“Art and Objecthood”—Michael Fried Minimalism was challenging modernism
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Frank Stella
Parallel Order Denied illusion Stripes
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Frank Stella—The Marriage of Reason and Squalor, 1959
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Frank Stella—Union I, 1966
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Frank Stella—Darabjerd I, 1968
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Donald Judd
"A shape, a volume, a color, a surface is something itself. It shouldn't be concealed as part of a fairly different whole." -Donald Judd
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Donald Judd Continued
Space and Dimension Rectangular Plane Order Monochrome
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Donald Judd—Untitled (Stack), 1967
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Donald Judd—Untitled, 1966
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Robert Morris
“Simplicity of shape does not necessarily equate with simplicity of experience.”-Robert Morris
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Robert Morris Continued
Danced before becoming a sculptor Interested in process of production and perceiving
“Notes on Sculpture Parts 1 & 2” (1966) Sculpture as Gestalt
Focus on relationship between viewer, space, and sculpture, rather than relationships within a piece
Avoids projection of human nature onto art
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Robert Morris—Green Gallery (Plywood Show), 1964
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Robert Morris—Untitled (L-beams), 1965
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Carl Andre
“My work is atheistic, materialistic, and communistic. It is atheistic because it is without transcendent form, without spiritual or intellectual quality. Materialistic because it is made out of its own materials without pretension to other materials. And communistic because the form is equally accessible to all men.”-Carl Andre
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Carl Andre Continued
Used pre-fabricated materials Unconnected arrangement of individual elements within each piece
Limitation to relatively simple shapes
Sculpture as place Elements are indistinguishable from raw materials
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Carl Andre—144 Magnesium Square, 1969
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Carl Andre—Sphinges, 1985
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Sol Lewitt
“The most interesting characteristic of the cube is that it is relatively uninteresting.”-Sol Lewitt
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Sol Lewitt Continued
Geometrical progression through modular structures
Based on repetition, permutation, and serial formulas
Simplified past industrial material—focus on concepts and systems
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Sol Lewitt—Open Modular Cube, 1966
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Sol Lewitt—HRZL 1,1990
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Dan Flavin
“One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.”-Dan Flavin
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Dan Flavin Continued
Limited materials to standard fluorescent light
Emphasis on physical space and light interaction
Has industrial qualities but is impermanent
Saw himself as a “maximalist”
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Dan Flavin–“monument" 1 for V. Tatlin, 1964
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Dan Flavin—Untitled (for Donna), 1971
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Influence of Minimalism
Minimalism spurred paradigm shifts Art no longer had to be a unique object created by an artist
Reinvented sculpture Broadened definition and rules of art
Closed gap between high culture and mass culture