Minimalism: Art and Polemics in the Sixties
What is minimalism? The answer to this simple question has defied simple answers. In this highly readable history of minimalist art James Meyer argues that "minimalism" was not a coherent movement but a field of overlapping and sometimes opposed practices. He traces in comprehensive detail the emergence of six figures associated with the development--Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, and Anne Truitt--and how the notion of minimalism came to be constructed around their art in the 1960s. Despite distinctive differences in method and points of view, Meyer shows, these artists became equated in a series of important exhibitions and texts that led to their designation as minimalists.
Beginning with the first reviews of minimalist shows, the book tracks the development of an art that critics dubbed Cool Art, ABC Art, and Primary Structures before settling on the deprecating label "minimal art." Suggesting that such work was overly reduced in form and facture, this term implied that the new abstraction was barely legible as fine art to some viewers. Meyer describes the heated polemic that unfolded in response to these practices, the differing claims of the artists, and the sometimes intense rivalries that developed within a highly competitive, fashion-minded New York art scene. The book culminates with an analysis of minimalism's canonization in the late sixties, its reception in Europe, and its discrediting by leftist viewers who associated the new art with American capitalist-imperialism of the Vietnam War.
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a tour of Primary Structures
the early years
the emergence of Judd and Morris
Truitt at Andre Emmerich
Black White and Gray
Morriss Notes on Sculpture
Judd at Castelli Systemic Painting and the Finch shows
seriality as negation
Andres brick show
displacement into conceptualism
minimalism and Good Design
minimalism and gender
Everymans Infinite Art Di Suveros attack
Flavin Judd and Stella interviewed
enter Flavin Eleven Artists
8 Young Artists
Morriss plywood show
1965 the fight for Stellas soul
popularization of the minimal
ABC Art Abstract Expressionism aesthetic American Art Andre's Anne Truitt Art and Objecthood Artforum Arts Magazine avant-garde Bannard Barbara Rose beams became Black bricks canvas Carl Carl Andre Caro Castelli Cavell claimed Clement Greenberg color Complete Writings conceptual critics critique cube culture Dan Flavin developed Donald Judd Duchamp Dwan early sixties Ellsworth Kelly essay exhibition Flavin floor fluorescent formal Frank Stella Fried Fried's geometric Glaser Goossen Gray Green Gallery Ibid icon implied installation John Judd and Morris Judd's Krauss Lippard literalist look Mel Bochner Minimal Art minimal practice minimalist Modern Art modernist Morris's Museum of Modern Newman Noland Notes on Sculpture observed optical pictorial Pollock Poons Primary Structures Rauschenberg readymade recalled Recentness of Sculpture reliefs repr Robert Morris Robert Smithson sculp sculpture seemed serial Smith Sol LeWitt space Specific Objects suggested Suvero Tibor de Nagy tion Untitled viewer Wagstaff Warhol work's York Letter
Página 6 - There are other art forms around called primary structures, reductive, rejective, cool, and mini-art. No artist I know will own up to any of these either. Therefore I conclude that it is part of a secret language that art critics use when communicating with each other through the medium of art magazines.
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