Maximizing Impact_ Nonprofit Website Planning, Budgeting, and Design.pdf
6.1 minimalism
1. Minimalism
Art
109A:
Art
since
19405Westchester
Community
College
Fall
2012
Dr.
Melissa
Hall
2. Minimalism
1960s
–
contemporaneous
with
Pop
Art
and
Hard
Edge
AbstracHon
Major
arHsts
include
Frank
Stella,
Donald
Judd,
Tony
Smith,
Carl
Andre,
Robert
Morris,
Dan
Flavin,
Sol
LewiR
InstallaHon
view
of
the
exhibiHon
"Primary
Structures"
at
the
Jewish
Museum
in
NYC,
1966:
works
by
Donald
Judd
(leZ
side)
and
Robert
Morris
Image
source:
hRp://www.radford.edu/rbarris/art428/minimalism%20and%20theatricality.html
3. Minimalism
ShiZ
from
painHng
to
sculpture
“Primarily
sculpture,
Minimal
art
tends
to
consist
of
single
or
repeated
geometric
forms.
Industrially
produced
or
built
by
skilled
workers
following
the
arHst’s
instrucHons,
it
removes
any
trace
of
emoHon
or
intuiHve
decision-‐making,
in
stark
contrast
to
the
Abstract
Expressionist
painHng
and
sculpture
that
preceded
it
during
the
1940’s
and
1950’s.
Minimal
work
does
not
allude
to
anything
beyond
its
literal
presence,
or
its
existence
in
the
physical
world.
Materials
appears
as
materials;
colour
(if
used
at
all)
is
non-‐referenHal.
OZen
placed
in
walls,
in
corners,
or
directly
on
the
floor,
it
is
an
installaHon
art
that
reveals
the
gallery
as
an
actual
place,
rendering
the
viewer
conscious
of
InstallaHon
view
of
the
exhibiHon
"Primary
Structures"
at
the
Jewish
Museum
in
NYC,
1966:
works
moving
through
this
space.”
by
Donald
Judd
(leZ
side)
and
Robert
Morris
James
Meyer,
Minimalism,
p.
15
Image
source:
hRp://www.radford.edu/rbarris/art428/minimalism%20and%20theatricality.html
4. Minimalism
CharacterisHcs:
1. Use
of
industrial
materials
and
methods
of
fabricaHon
2. Radically
simplified
geometric
forms
3. Singular
or
serial
arrangements
based
on
preexisHng
systems
rather
than
“composiHonal”
concerns
4. Removal
of
all
trace
of
the
arHst’s
hand
(impersonality)
InstallaHon
view
of
the
exhibiHon
"Primary
Structures"
at
the
Jewish
Museum
in
NYC,
1966:
works
by
Donald
Judd
(leZ
side)
and
Robert
Morris
Image
source:
hRp://www.radford.edu/rbarris/art428/minimalism%20and%20theatricality.html
5. Minimalism
ReacHon
against
Abstract
Expressionism
and
its
rhetoric
of
personal
expression
and
spiritual
transcendence
BarneR
Newman,
Vir
Heroicus
Sublimus,
1950-‐51
Hans
Namuth,
Jackson
Pollock,
1950
6. “At
thirty
I
had
my
alienaHon,
my
Skilsaw,
my
plywood.
I
was
out
to
rip
the
metaphors,
especially
those
that
had
to
do
with
‘up,’
as
well
as
every
other
whiff
of
transcendence.
When
I
sliced
into
the
plywood
with
my
Skilsaw,
I
could
hear,
beneath
the
ear-‐
damaging
whine,
a
stark
and
refreshing
‘no’
reverberate
off
the
four
walls:
no
to
transcendence
and
spiritual
values,
heroic
scale,
anguished
decisions,
historicizing
narraHve,
valuable
arHfact,
intelligent
structure,
interesHng
visual
experience.”
Robert
Morris,
“ Three
Folds
in
the
Fabric
and
Four
Autobiographical
Asides
as
Allegories
[or
InterrupHons],
Art
in
America,
November
1989
Image
source:
hRp://professional-‐power-‐tool-‐guide.com/2008/08/skil-‐worm-‐drive-‐saw-‐power-‐tool-‐review/
7. Minimalism
Minimalism
was
in
many
ways
a
conHnuaHon
of
the
Modernist
pursuit
of
purity,
autonomy,
and
self-‐
referenHality
"Increasingly
the
demand
has
been
for
an
honest,
direct,
unadulterated
experience
in
art
(any
art),
minus
symbolism,
minus
messages,
and
minus
personal
exhibiHonism."
E.C.
Goosen,
1966
Ad
Reinhardt,
Abstract
Pain5ng,
1957
Museum
of
Modern
Art
8. Minimalism
But
Minimalism
also
embraced
the
literalism
of
Jasper
Johns,
creaHng
a
kind
of
synthesis
between
the
monochrome
and
the
readymade
Jasper
Johns
Flag,
1954-‐55,
Museum
of
Modern
Art
10. Frank
Stella
It
is
generally
agreed
that
Minimalism
began
with
the
monochrome
painHngs
of
Frank
Stella
Frank
Stella
double-‐page
spread
from
the
exhibiHon
catalogue
“Sixteen
Americans,”
Museum
of
Modern
Art
1959
11. Frank
Stella
Stella
wanted
to
eliminate
every
last
trace
of
“personality,”
“feeling,”
or
“expressionism”
from
his
work
“I
always
get
into
arguments
with
people
who
want
to
retain
the
old
values
in
painHng
–
the
humanisHc
values
that
they
always
find
on
the
canvas.
If
you
pin
them
down,
they
always
end
up
asserHng
that
there
is
something
there
besides
paint
on
the
canvas.”
Frank
Stella
Frank
Stella,
1965
Image
source:
hRp://www.askyfilledwithshooHngstars.com/wordpress/?p=638
12. “Consider
the
following
opinions
.
.
.
.
Ben
Heller
writes
that
Noland
‘has
created
not
only
an
opHcal
but
an
expressive
art’
and
Michael
Fried
calls
Noland’s
painHngs
‘powerful
emoHonal
statements’
.
.
.
.
Alan
Solomon
has
wriRen
of
Noland’s
circles
.
.
.
‘some
are
buoyant
and
cheerful
.
.
.
Others
are
sombre,
brooding,
tense,
introspecHve,’
but
this
‘someHmes-‐I’m-‐happy,
someHmes-‐I’m-‐blue’
interpretaHon
is
less
than
one
hopes
for.
It
amounts
to
a
reading
of
color
and
concentric
density
as
symbols
of
emoHonal
states,
which
takes
us
back
to
the
early
twenHeth-‐century
belief
in
emoHonal
transmission
by
color-‐coding.”
Lawrence
Alloway,
Systemic
Pain5ng
Kenneth
Noland,
Turnsole,
1961
MOMA
13. Susan
Sontag’s
seminal
essay
“Against
InterpretaHon”
is
relevant
here:
“In
most
modern
instances,
interpretaHon
amounts
to
the
philisHne
refusal
to
leave
the
work
of
art
alone.
Real
art
has
the
capacity
to
make
us
nervous.
By
reducing
the
work
of
art
to
its
content
and
then
interpreHng
that,
one
tames
the
work
of
art.
InterpretaHon
makes
art
manageable,
comformable.”
Susan
Sontag,
“Against
InterpretaHon”
1966
Susan
Sontag,
Against
Interpreta5on
and
Other
Essays,
1966
14. CriHcs
made
much
of
the
“expressive”
meaning
of
Abstract
Expressionism
Norman
Rockwell,
The
Connoisseur,
The
Saturday
Evening
Post,
January
13,
1962
15. They
saw
the
arHst’s
personality
embedded
in
the
marks
he
made
on
the
canvas
“It
is
always
the
case
that
interpretaHon
of
this
type
indicates
a
dissaHsfacHon
(conscious
or
unconscious)
with
the
work,
a
wish
to
replace
it
by
something
else.
InterpretaHon,
based
on
the
highly
dubious
theory
that
a
work
of
art
is
composed
of
items
of
content,
violates
art.
It
makes
art
into
an
arHcle
for
use,
for
arrangement
into
a
mental
scheme
of
categories.”
Susan
Sontag,
“Against
InterpretaHon”
16. Frank
Stella
Frank
Stella’s
black
painHngs
consisted
of
geometrical
arrangements
of
black
stripes
Frank
Stella,
The
Marriage
of
Reason
and
Squalor,
1959
Museum
of
Modern
Art
17. Frank
Stella
Inspired
by
Jasper
Johns’
flags;
the
striped
painHng
were
flag
painHngs,
minus
the
flag
Jasper
Johns,
Flag,
1958
Frank
Stella,
The
Marriage
of
Reason
and
Squalor,
1959
Museum
of
Modern
Art
18. Frank
Stella
The
industrial
enamel
paint
was
applied
impersonally
“To
clear
away
the
boring
display
of
personality
as
such,
techniques
for
applying
color
have
been
reduced
to
those
that
call
as
liRle
aRenHon
to
themselves
as
possible.
The
anonymity
of
the
industrial
paint-‐job
is
the
desire.”
E.C.
Goosen,
Two
Exhibi5ons
Frank
Stella,
1965
Image
source:
hRp://www.askyfilledwithshooHngstars.com/wordpress/?p=638
19. Frank
Stella
Even
the
composiHon
was
“anonymous”
The
width
of
the
stripes
was
determined
by
the
width
of
the
stretcher
frame,
and
then
repeated
in
a
logical
paRern
Frank
Stella,
Die
Fahne
Hoch,
1959
Whitney
Museum
20. Frank
Stella
“Art
excludes
the
unnecessary.
Frank
Stella
has
found
it
necessary
to
paint
stripes.
There
is
nothing
else
in
his
painHng.
Frank
Stella
is
not
interested
in
expression
or
sensiHvity.
He
is
interested
in
the
necessiHes
of
painHng.
Symbols
are
counters
passed
among
people.
Frank
Stella’s
painHng
is
not
symbolic.
His
stripes
are
the
paths
of
brush
on
canvas.
These
paths
lead
only
to
painHng.”
Carl
Andre,
“Preface
to
Stripe
PainHng
(Frank
Stella),”
Sixteen
American,
Museum
of
Modern
Art,
1959
Frank
Stella,
The
Marriage
of
Reason
and
Squalor,
1959
Museum
of
Modern
Art
21. Frank
Stella
Stella’s
painHngs
took
the
Modernist
pursuit
of
“purity”
to
its
logical
conclusion
“The
new
flatness
of
Stella’s
black,
copper,
and
aluminum
painHngs
made
even
the
shallow
space
of
abstract
expressionism
seem
old
fashioned.
Michael
Fried
claimed
that
in
doing
this
Stella
has
posed
and
solved
the
central
formal
problem
in
modern
art
since
impressionism
–
namely,
asserHng
the
painHng’s
presence
as
an
object
(it’s
‘objecthood’).”
Jonathan
Fineberg,
Art
Since
1940,
p.
299
Clement
Greenberg
looking
at
a
painHng
by
Ken
Noland
Image
source:
hRps://www.artnet.sk/Magazine/features/kostabi/kostabi9-‐11-‐18.asp
22. Frank
Stella
But
the
pictures
had
become
so
blank
and
impersonal
they
could
no
longer
be
“read”
as
pictures
“Like
irrevocably
shut
metal
doors,
these
hermeHc
facades
thwarted
the
spectator’s
impulse
to
look
into
the
picture,
whose
tradiHonal
ficHons
now
seemed
forever
sealed
from
view.”
Robert
Rosenblum
Frank
Stella,
The
Marriage
of
Reason
and
Squalor,
1959
MOMA
23. Frank
Stella
“My
painHng
is
based
on
the
fact
that
only
what
can
be
seen
is
there.
It
really
is
an
object
.
.
.
.
If
the
painHng
were
lean
enough,
accurate
enough,
or
right
enough,
you
would
just
be
able
to
look
at
it.
All
I
want
anyone
to
get
out
of
my
painHngs,
and
all
I
ever
get
out
of
them,
is
the
fact
that
you
can
see
the
whole
idea
without
any
confusion
.
.
.
.
What
you
see
is
what
you
see.”
Frank
Stella
“If
you
want
to
know
all
about
Andy
Warhol,
just
look
at
the
surface
of
my
painHngs
and
films
and
me,
and
there
I
am.
There’s
nothing
behind
it.”
Andy
Warhol
Frank
Stella,
Die
Fahne
Hoch,
1959
Whitney
Museum
24. Frank
Stella
Stella’s
Htles
seem
to
contradict
his
emoHonal
detachment
Frank
Stella,
Die
Fahne
Hoch,
1959
Whitney
Museum
25. Frank
Stella
Die
Fahne
Hoch
means
“raise
the
flag
high,”
and
is
taken
from
a
Nazi
marching
song
Frank
Stella,
Die
Fahne
Hoch,
1959
Whitney
Museum
26. Frank
Stella
Another
work,
Arbeit
Macht
Frei
—
“Work
makes
[you]
free”
—
takes
its
Htle
from
the
moRo
inscribed
over
the
gates
of
Auschwitz.
“Arbeit
Macht
Frei”
(Work
Makes
you
Free”)
gate
at
Auschwitz
27. Frank
Stella
“In
their
insistence
on
the
fraudulence
or
bankruptcy
of
exisHng
systems
of
producing
meaning,
and
in
their
very
absoluteness,
Stella’s
painHngs
make
an
unrelievedly
negaHvisHc
statement.
Here
we
find
art
on
the
brink
of
not
being
art,
blacked-‐out
painHngs
idenHfied
with
Nazi
slogans.
From
this
perspecHve,
Stella’s
use
of
the
notorious
phrase
from
Auschwitz
might
evoke
Adorno’s
saying
that,
‘ To
write
lyric
poetry
aZer
Auschwitz
is
barbaric.;
for
the
‘poems’
consHtuted
by
these
graphic
painHngs
are
non-‐poems
or
the
negaHves
of
poems,
with
thick
white
lines
where
the
black
lines
should
be
on
a
sheet
of
wriHng
paper,
and
line
aZer
line
ineradicably
deleted
in
black
were
the
white
spaces
and
the
poem’s
text
should
be.”
Anna
Chave,
“Minimalism
and
the
Rhetoric
of
Power,”
Arts
vol.
64
no.
5
(January
1990),
p.
50
Frank
Stella,
Die
Fahne
Hoch,
1959
Whitney
Museum
28. Frank
Stella
To
emphasize
the
“painHng-‐as-‐
object”
(as
opposed
to
the
idea
of
the
“painHng-‐as-‐picture”),
Stella
also
introduced
the
idea
of
the
shaped
canvas
“The
shaped
canvas,
although
frequently
described
as
a
hybrid
of
painHng
and
sculpture,
grew
out
of
the
issues
of
abstract
painHng
and
was
evidence
of
the
desire
of
painters
to
move
into
real
space
by
rejecHng
Frank
Stella,
Nunca
Pasa
Nada,
1964
behind-‐the-‐frame
illusionism.”
Frances
ColpiR,
“ The
Shape
of
PainHng
in
the
1960’s”
29. Frank
Stella,
Shaped
canvases
at
L
&
M
Arts
Image
source:
hRp://artobserved.com/2012/04/new-‐york-‐frank-‐stella-‐black-‐aluminum-‐copper-‐at-‐lm-‐arts-‐through-‐june-‐2-‐2012/07-‐frank-‐stella-‐l-‐m-‐teullride-‐
creede-‐i-‐creede-‐ii-‐2012/
31. Frank
Stella,
Empress
of
India,
1965
Image
source:
hRp://www.flickr.com/photos/noodle/2244592760/sizes/o/in/photostream/
32. "Being
pulled
out
of
the
standard
rectangular
shape
.
.
.
the
convenHonal
idea
of
the
painHng
as
a
transparent
screen
opening
onto
an
imaginary
space
gives
way
to
the
idea
of
painHng
as
an
opaque
surface
occupying
actual
space."
David
Batchelor,
Minimalism,
p.
17
33. “When
you
make
a
line
or
mark
on
a
panel,
you
are
involved
in
depicHon,
and
what
I
wanted
expressed
was
the
form
of
the
painHng
itself
.
.
.
the
wall
became
the
ground
and
the
panels
became
the
marks
on
the
wall."
Ellsworth
Kelly
MOMA
Ellsworth
Kelly,
Three
Panels:
Orange,
Dark
Gray,
Green,
1986
Museum
of
Modern
Art
34. Later
Work
Stella
later
introduced
color
into
his
work
Frank
Stella,
Gran
Cairo,
1962.
Whitney
Museum
35. Frank
Stella,
Geometric
Varia5ons,
at
Paul
Kasmin
Gallery,
2011
hRp://www.paulkasmingallery.com/exhibiHons/2011-‐09-‐22_frank-‐stella/artworks
36. Later
Work
“A
major
shiZ
from
this
work
began
to
develop
in
1966
with
his
Irregular
Polygons,
canvases
in
the
shapes
of
irregular
geometric
forms
and
characterized
by
large
unbroken
areas
of
color.
As
this
new
vocabulary
developed
into
a
more
open
and
color-‐oriented
pictorial
language,
the
works
underwent
a
metamorphosis
in
size,
expressing
an
affinity
with
architecture
in
their
monumentality.”
Guggenheim
Museum
Frank
Stella,
Chocorua
IV,
1966.
Hood
Museum
of
Art
37. Frank
Stella,
Irregular
Polygons,
Toledo
Museum
hRp://www.youtube.com/watch?v=lgaPuHDV8v0&feature=related
38. Later
Work
“Stella
also
introduced
curves
into
his
works,
marking
the
beginning
of
the
Protractor
series.
Harran
II
evinces
the
great
vaulHng
composiHons
and
lyrically
decoraHve
paRerns
that
are
the
leitmoHf
of
the
series,
which
is
based
on
the
semicircular
draZing
instrument
used
for
measuring
and
construcHng
angles.”
Guggenheim
Museum
Frank
Stella,
Harran
II,
1967
Guggenheim
Museum
43. Op
Art
Although
short
lived
as
an
avant
garde
movement,
Op
Art
had
a
significant
influence
on
1960’s
fashion
and
design
1960s
fashion
icon
Ossie
Clark
hRp://www.thebudgezashionista.com/archive/clark-‐ossie/
44. Donald
Judd
Began
his
career
as
a
painter
Studied
philosophy
at
Columbia,
and
was
an
art
criHc
from
1959-‐1965
Laura
Wilson,
Portrait
of
Donald
Judd
with
Red
PainHng
Artnet
45. Donald
Judd
Following
Greenberg’s
theory
of
modernism,
Judd
declared
that
painHng
was
obsolete
"Almost all paintings are spatial in
one way or another . . . Anything
on a surface has space behind
it . . . . anything spaced in a
rectangle and on a plane suggests
something in and on something
else, something in its surround,
which suggests an object or figure
in its space . . .”
Donald Judd
Kenneth
Noland,
Turnsole,
1961
Museum
of
Modern
Art
46. Donald
Judd
But
Stella’s
shaped
canvases
pointed
in
a
new
direcHon
by
moving
from
painHng
to
object
"Frank
Stella's
new
painHng
are
one
of
the
recent
facts.
They
show
the
extent
of
what
can
be
done
now
.
.
.
It
is
not
only
new
but
beRer
.
.
.
the
absence
of
illusionisHc
space
in
Stella,
for
example,
makes
abstract
expressionism
seem
now
an
inadequate
style,
makes
it
appear
a
compromise
with
representaHonal
art
and
its
meaning."
Donald
Judd
Frank
Stella,
Empress
of
India,
1965
Museum
of
Modern
Art
47. Donald
Judd
Also
influenced
by
Russian
ConstrucHvist
idea
of
“real
materials
in
real
space”
Vladimir
Tatlin,
Corner
Relief,
1915
48. Donald
Judd
Judd’s
earliest
works
were
box-‐like
construcHons
made
of
industrial
materials
such
as
plywood,
plexiglass,
and
steel
Donald
Judd,
Un5tled,
1968.
Enamel
on
aluminum
Guggenheim
Museum
49. Donald
Judd
The
pieces
were
set
directly
on
the
floor
rather
than
on
a
pedestal,
making
them
more
like
“objects”
than
sculptures
Donald
Judd,
Un5tled,
1968.
Brass
Museum
of
Modern
Art
50. Donald
Judd
He
called
his
pieces
“specific
objects”
to
disHnguish
them
from
“painHng”
or
“sculpture”
Donald
Judd,
Un5tled,
1972.
Enamel
and
aluminum
Tate
Gallery
51. Donald
Judd
The
works
were
not
even
made
by
the
arHst
-‐-‐
they
were
fabricated
by
technicians
according
to
his
specificaHons
Donald
Judd,
Un5tled,
1968
Walker
Art
Center
52. Donald
Judd
They
seem
more
like
works
of
carpentry
or
engineering,
than
“sculpture”
Donald
Judd,
Un5tled,
1976,
Dia:Beacon
Image
source:
hRp://jacindarussellart.blogspot.com/2011/10/dia-‐beacon-‐with-‐colleen.html
53. Donald
Judd
They
have
about
as
much
personality
as
a
piece
of
furniture
(which
the
arHst
started
making
in
the
80’s)
”Minimal
works
are
readable
as
art,
as
almost
anything
is
today
–
including
a
door,
a
table,
or
a
blank
sheet
of
paper.”
Clement
Greenberg,
“ The
Recentness
of
Sculpture,”
1967
Donald
Judd,
Daybed
54. Wait
a
second,
how
can
Donald
Judd
something
so
boring
be
considered
art?
Donald
Judd,
Un5tled,
1968.
Brass
Museum
of
Modern
Art
55. How
can
it
be
art
if
it
doesn’t
Donald
Judd
mean
anything?
Donald
Judd,
Un5tled,
1968.
Brass
Museum
of
Modern
Art
56. Donald
Judd
Remember
-‐
other
arHsts
were
trying
to
make
art
that
was
“anonymous,”
and
“about
nothing”
Ellsworth
Kelly,
Colors
for
a
Large
Wall,
1951
Museum
of
Modern
Art
57. Donald
Judd
They
wanted
us
to
see
the
work,
not
its
“meaning”
Ellsworth
Kelly,
Colors
for
a
Large
Wall,
1951
Museum
of
Modern
Art
58. Donald
Judd
If
we
just
LOOK
at
Judd’s
work,
without
preconcepHon,
we
discover
that
what
appears
to
be
so
simple
is
really
quite
complex
Donald
Judd,
Un5tled,
1968.
Brass
Museum
of
Modern
Art
59. Donald
Judd
As
we
look
at
the
work,
move
around
it,
step
up
close
and
then
back
away,
we
become
aware
of
how
this
simple
object
changes
according
to
our
vantage
point
"So
what
you
see
is
what
you
see,
as
Frank
Stella
famously
said,
but
things
are
never
as
simple
as
they
seem:
the
posiHvism
of
Minimalism
notwithstanding,
percepHon
is
made
reflexive
in
these
works
and
so
rendered
complex”
Hal
Foster,
The
Crux
of
Minimalism
Donald
Judd,
Un5tled,
1968.
Image
source:
hRp://crmoon.com/cresmoart.html#Minimal%20Art%20and%20ArHsts%20in%20the%201960s
%20and%20AZer
61. Donald
Judd
"The
minimalist
suppression
of
anthropomorphic
images
and
gestures
is
more
than
a
reacHon
against
the
abstract-‐expressionist
model
of
art;
it
is
a
"death
of
the
author"
(as
Roland
Barthes
would
call
it
in
1968)
that
is
at
the
same
Hme
a
birth
of
the
viewer:
'The
object
is
but
one
of
the
terms
of
the
newer
estheHc
.
.
.
.
One
is
more
aware
than
before
that
he
himself
is
establishing
relaHonships
as
he
apprehends
the
object
from
the
various
posiHons
and
under
varying
condiHons
of
light
and
spaHal
context.'
Hal
Foster,
the
Crux
of
Minimalism
62. Death
of
the
Author
This
is
why
Michael
Fried
dismissed
Minimalism
as
being
“theatrical”
63. Death
of
the
Author
A
Minimalist
exhibiHon
is
like
a
stage-‐
set
for
a
“Happening”
Donald
Judd
work
in
CincinnaH
Art
Museum
Image
source:
hRp://www.flickr.com/photos/jasonnathan/3484451338/
64. Donald
Judd
In
addiHon
to
“unitary
forms,”
Judd
also
worked
with
modular
units
in
serial
arrangements
Donald
Judd,
UnHtled
(Six
boxes)
1974.
Brass
NaHonal
Gallery
of
Australia
65. Donald
Judd
Seriality
=
“anonymous”
composiHon
Different
from
“relaHonal
sculpture”
Anthony
Caro,
Early
One
Morning,
1962
Tate
Gallery
66. Donald
Judd
Seriality
internalizes
industrial
modes
of
producHon
Donald
Judd,
UnHtled
(Six
boxes)
1974.
Brass
NaHonal
Gallery
of
Australia
67. Donald
Judd
In
the
“stack”
series,
box-‐like
forms
are
canHlevered
to
the
wall
and
spaced
at
regular
intervals
Donald
Judd,
Un5tled,
1969
Brass
and
colored
fluorescent
plexiglass
on
steel
bracketsten
pieces,
each
6
1/8
x
24
x
27
in.
Hirshhorn
Museum
68. Donald
Judd,
Un5tled
(Stack),
1967
Donald
Judd,
Un5tled,
December
23,
1969.
Copper,
ten
units
Lacquer
on
galvanized
iron,
Twelve
units,
each
9
x
40
x
31"
with
9-‐inch
intervals,
9
x
40
x
31
inches
(22.9
x
101.6
x
78.7
Museum
of
Modern
Art
cm)
each;
180
x
40
x
31
inches
Guggenheim
Museum
69. Donald
Judd
The
serial
arrangement
is
“impersonal,”
and
avoids
anthropomorphic
associaHons
David
Smith,
Cubi
XVII,
1963
Donald
Judd,
Un5tled,
1969
Brass
and
colored
fluorescent
plexiglass
on
steel
bracketsten
pieces,
each
6
1/8
x
24
x
27
in.
Hirshhorn
Museum
70. Donald
Judd
Though
composed
of
separate
“parts,”
the
work
reads
as
a
unified
“whole”
“Gestalt
is
a
psychology
term
which
means
"unified
whole".
It
refers
to
theories
of
visual
percepHon
developed
by
German
psychologists
in
the
1920s.
These
theories
aRempt
to
describe
how
people
tend
to
organize
visual
elements
into
groups
or
unified
wholes.
.
.”
hRp://graphicdesign.spokanefalls.edu/tutorials/process/
gestaltprinciples/gestaltprinc.htm
Donald
Judd,
Un5tled,
1969
Brass
and
colored
fluorescent
plexiglass
on
steel
bracketsten
pieces,
each
6
1/8
x
24
x
27
in.
Hirshhorn
Museum
71. Donald
Judd
But
the
“form”
of
the
work
will
change
as
we
move
around
the
piece
Donald
Judd,
Un5tled,
1980
Steel,
aluminum,
and
perspex
Tate
Gallery
72. Donald
Judd
In
1968
Judd
purchased
a
building
at
101
Spring
Street
in
SoHo,
which
became
his
first
“permanent
installaHon”
“Judd’s
concept
of
“permanent
installaHon”
centered
on
the
belief
that
the
placement
of
a
work
of
art
was
as
criHcal
to
its
understanding
as
the
work
itself.
Judd’s
first
applicaHons
of
this
idea
were
realized
in
his
installaHon
of
works
throughout
101
Spring
Street.”
Judd
FoundaHon
73. Donald
Judd
The
idea
of
a
“permanent
installaHon”
was
realized
on
a
grander
scale
when
he
purchased
an
abandoned
army
installaHon
near
Marfa
Texas
to
use
as
a
studio
74. Donald
Judd
The
site
is
now
managed
by
the
ChinaH
foundaHon
and
includes
large-‐scale
works
by
Judd,
Dan
Flavin,
Carl
Andre,
John
Chamberlain,
Claes
Oldenburg
and
Roni
Horn
hRp://www.chinaH.org/visit/collecHon/carlandre.php
75. “At
the
center
of
the
ChinaH
FoundaHon's
permanent
collecHon
are
100
unHtled
works
in
mill
aluminum
by
Donald
Judd
installed
in
two
former
arHllery
sheds.
The
size
and
scale
of
the
buildings
determined
the
nature
of
the
installaHon,
and
Judd
adapted
the
buildings
specifically
for
this
purpose.
He
replaced
derelict
garage
doors
with
long
walls
of
conHnuous
squared
and
quartered
windows
which
flood
the
spaces
with
light.
Judd
also
added
a
vaulted
roof
in
galvanized
iron
on
top
of
the
original
flat
roof,
thus
doubling
the
buildings'
height.
The
semi-‐circular
ends
of
the
roof
vaults
were
to
be
made
of
glass.”
hRp://www.chinaH.org/visit/collecHon/
juddalummore.php
Donald
Judd,
100
un5tled
works
in
mill
aluminum,
1982-‐1986
77. Donald
Judd,
100
un5tled
works
in
mill
aluminum,
1982-‐1986
Image
source:
hRp://food-‐dileRante.blogspot.com/2010_05_01_archive.html
78. “The
fiZeen
concrete
works
by
Donald
Judd
that
run
along
the
border
of
ChinaH's
property
were
the
first
works
to
be
installed
at
the
museum
and
were
cast
and
assembled
on
the
site
over
a
four-‐
year
period,
from
1980
through
1984.
The
individual
units
that
comprise
each
work
have
the
same
measurements
of
2.5
x
2.5
x
5
meters,
and
are
made
from
concrete
slabs
that
are
each
25
cenHmeters
thick.
Funding
for
the
project
was
provided
by
the
Dia
Art
FoundaHon.”
hRp://www.chinaH.org/visit/collecHon/
donaldjudd2.php
Donald
Judd,
15
Un5tled
works
in
concrete,
1980-‐1984
79. Donald
Judd,
15
Un5tled
works
in
concrete
1980-‐1984
hRp://studioporcupine.blogspot.com/2012/03/chinaH-‐foundaHon-‐part-‐1-‐marfa-‐tx.html
80. Donald
Judd,
15
Un5tled
works
in
concrete
1980-‐1984
hRp://studioporcupine.blogspot.com/2012/03/chinaH-‐foundaHon-‐part-‐1-‐marfa-‐tx.html
81. Tony
Smith
Member
of
the
Abstract
Expressionist
generaHon
BarneR
Newman,
Jackson
Pollock,
Tony
Smith
at
the
BeRy
Parsons
Gallery,
1951
Photos
by
Hans
Namuth
NaHonal
Portrait
Gallery
82. Tony
Smith
IniHated
the
use
of
industrial
materials
and
methods
Work
was
made
by
an
industrial
fabricator
according
to
specificaHons
given
on
the
phone
Smith's
instrucHons
for
fabricaHon
were:
''a
six-‐foot
cube
of
quarter-‐
inch
hot-‐rolled
steel
with
diagonal
internal
bracing.''
Tony
Smith,
Die,
1962
(fabricated
1968)
Steel,
6’
X
6’
X
6’
NaHonal
Gallery
of
Art
83. Tony
Smith
Based
on
scale
of
the
human
body
Tony
Smith,
Die,
1962
(fabricated
1968)
Steel,
6’
X
6’
X
6’
NaHonal
Gallery
of
Art
84. Tony
Smith
If
he
made
it
larger,
the
piece
would
have
been
like
architecture
If
he
made
it
smaller,
it
would
have
been
an
object
“Smith
shied
away
from
referring
to
his
three-‐dimensional
works
as
sculptures,
instead
calling
them
"presences."
"I
was
just
thinking
about
form,"
he
explained.
"They
just
exist,"
he
told
an
interviewer.
‘They
are
just
present.’”
hRp://www.artnet.com/magazine_pre2000/
features/tuchman/tuchman7-‐14-‐98.asp
Tony
Smith,
Die,
1962
(fabricated
1998)
Steel,
6’
X
6’
X
6’
Museum
of
Modern
Art
85. Tony
Smith
Works
like
Die
and
Free
Ride
earned
Smith
a
reputaHon
as
a
first
ranking
Minimalist
Tony
Smith,
Free
Ride,
1962
Museum
of
Modern
Art
88. Tony
Smith
But
other
works
by
Smith
are
not
as
"pure"
in
Minimalist
terms
Tony
Smith,
Duck,
1962
Pepsico
Sculpture
Garden
89. Smith
composed
Amaryllis
using
two
geometric
shapes
that
change
dramaHcally
as
the
viewer
circles
the
sculpture.
From
one
view
the
sculpture
appears
as
a
balanced
form
consisHng
of
two
idenHcal
shapes.
Tony
Smith,
Amaryllis,
1965/68
Walker
Art
Center
hRp://collecHons.walkerart.org/item/object/771
90. Viewed
from
the
side,
it
appears
unbalanced,
as
though
the
supported
form
might
topple.
Tony
Smith,
Amaryllis,
1965/68
Walker
Art
Center
hRp://collecHons.walkerart.org/item/object/771
91. From
another
vantage
point,
it
is
difficult
to
tell
it
is
the
same
work
Tony
Smith,
Amaryllis,
1965/68
Walker
Art
Center
hRp://collecHons.walkerart.org/item/object/771
92. Carl
Andre
Carl
Andre's
early
carved
sculptures
were
inspired
by
the
work
of
ConstanHn
Brancusi
ConstanHn
Brancusi
Carl
Andre,
Last
Ladder,
1959
Tate
Gallery
93. Carl
Andre
He
was
especially
aRracted
to
Brancusi’s
rough
hewn
pedestals
and
his
seminal
work,
Endless
Column
ConstanHn
Brancusi
Endless
Coumn
1918
MOMA
ConstanHn
Brancusi
in
his
studio
94. Carl
Andre
1960
abandons
“carving”
Element
series:
stacked
arrangements
of
Hmber
in
various
configuraHons
Carl
Andre
Pyramid
(Square
Plan)
1959
(destroyed);
1970
(remade)
Dallas
Museum
of
Art
95. Carl
Andre
Stacking:
an
impersonal,
“anonymous”
method
of
construcHon
Logical
system
dictates
form
of
the
work
Carl
Andre,
Trabum
(Element
Series),
Conceived
in
1960;
made
in
1977.
Douglas
fir,
Nine
units:
Overall:
36
x
36
x
36
inches;
Each:
12”
x
12”
x
36”
Guggenheim
Museum
96. Carl
Andre
The
work
is
about
the
properHes
of
material
rather
than
the
arHst’s
ideas
or
skill
"The
one
thing
I
learned
in
my
work
is
that
to
make
the
work
I
wanted
to
you
couldn't
impose
properHes
on
materials,
you
have
to
reveal
the
properHes
of
the
material."
Carl
Andre
Carl
Andre,
Trabum
(Element
Series),
Conceived
in
1960;
made
in
1977.
Douglas
fir,
Nine
units:
Overall:
36
x
36
x
36
inches;
Each:
12”
x
12”
x
36”
Guggenheim
Museum
97. Carl
Andre
Inspired
by
Frank
Stella
(with
whom
he
shared
a
studio)
Andre
began
experimenHng
with
industrial
materials
such
as
steel,
lead,
fire
bricks,
and
copper,
in
serial
arrangements
that
became
increasingly
reducHve
and
spare
Carl
Andre,
Lever,
1966
98. Carl
Andre
Lever
was
a
site-‐specific
work
consisHng
of
137
fire
bricks
laid
side
by
side
on
the
floor
Carl
Andre,
Lever,
1966
99. Carl
Andre
He
believed
that
verHcality
had
inherently
anthropomorphic
connotaHons
David
Smith,
Cubi
XVII,
1963
Carl
Andre,
Lever,
1966
100. Carl
Andre
“All
I’m
doing,”
says
Andre,
“is
pu•ng
Brancusi’s
Endless
Column
on
the
ground
instead
of
in
the
sky.
Most
sculpture
is
priapic
with
the
male
organ
in
the
air.
In
my
work,
Priapus
is
down
on
the
floor.
The
engaged
posiHon
is
to
run
along
the
earth.”
David
Bourdon,
“ The
Razed
Sites
of
Carl
Andre,”
Ar^orum,
Oct
1966;
in
Gregory
BaRcock,
Minimal
Art:
An
Anthology,
p.
103-‐
Carl
Andre,
Lever,
1966
101. Carl
Andre
Just
as
Stella
pushed
the
limits
of
painHng
by
eliminaHng
everything
"pictorial"
in
pursuit
of
a
literal
"objecthood,"
Andre
similarly
pushed
the
limits
of
sculpture
to
a
point
of
near
disappearance
Carl
Andre,
Lever,
1966
102. Carl
Andre
In
his
Equivalents
series
Andre
arranged
firebricks
in
a
variety
of
different
configuraHons
Each
piece
consisted
of
the
same
number
of
firebricks,
but
their
resulHng
shapes
were
quite
different
Carl
Andre,
Equivalent
_-‐VIII,
1966
InstallaHon
at
Tibor
de
Nagy
Gallery,
1966
103. Carl
Andre
The
viewer
is
invited
to
contemplate
the
relaHonship
between
the
known
fact
of
“sameness”
(the
works
are
all,
essenHally
the
same),
and
the
visible
“differences”
between
them
Carl
Andre,
Equivalent
_-‐VIII,
1966
InstallaHon
at
Tibor
de
Nagy
Gallery,
1966
104. Carl
Andre
Equivalent
VIII,
part
of
the
series,
was
purchased
by
the
Tate
Gallery
in
1972
Carl
Andre,
Equivalent
VIII,
1966
Tate
Gallery
105. Carl
Andre
The
work
consisted
of
120
fire
bricks
arranged
in
a
rectangular
arrangement
on
the
floor
Carl
Andre,
Equivalent
VIII,
1966
Tate
Gallery
106. Carl
Andre
It
set
off
a
major
controversy
in
the
BriHsh
press
107. Carl
Andre
The
public
response
to
Andre’s
work
is
ironic,
since
his
goal
was
to
“democraHze”
art
by
taking
it
off
its
pedestal
“My
work
is
atheisHc,
materialisHc,
and
communisHc.
It’s
atheisHc
because
it’s
without
transcendent
form,
without
spiritual
or
intellectual
quality.
MaterialisHc
because
it’s
made
out
of
its
own
material
without
pretension
to
other
materials.
And
communisHc
because
the
form
is
equally
accessible
to
all
men.”
David
Bourdon,
“ The
Razed
Sites
of
Carl
Andre,”
Ar^orum,
Oct
1966;
in
Gregory
BaRcock,
Minimal
Art:
An
Anthology,
p.
103-‐
Carl
Andre,
Equivalent
VIII,
1966
Tate
Gallery
108. Carl
Andre
The
arHst
signaled
his
solidarity
with
the
working
man
by
always
wearing
bib
overalls
Carl
Andre
109. Carl
Andre
But
the
common
man
thought
the
work
was
incomprehensible
Carl
Andre,
Equivalent
VIII,
1966
Tate
Gallery
110. Carl
Andre
In
another
series,
Andre
created
flat
Hles
out
of
industrial
materials
such
as
aluminum,
steel,
zinc,
lead,
and
iron,
placed
in
modular
units
on
the
floor
Carl
Andre,
Steel-‐Aluminum
Plain,
1969
Art
InsHtute
of
Chicago
116. Where
is
the
sculpture?
There’s
nothing
there!
Carl
Andre,
144
Lead
Squares,
1969
MOMA
117. It’s
like
a
monchrome
painHng,
only
its
on
the
floor
.
.
.
Carl
Andre,
144
Lead
Squares,
1969
MOMA
118. Robert
Morris
Like
Donald
Judd,
Robert
Morris
was
influenHal
as
both
an
arHst
and
a
theorist
Robert
Morris,
I-‐Box,
1962
119. Robert
Morris
In
the
1960’s
Morris
embarked
upon
a
series
of
L-‐beams
made
of
plywood
and
painted
a
dull
gray
Robert
Morris,
Un5tled
(L-‐Beams),
1965
and
1967
(original
destoryed)
120. Robert
Morris
Like
Tony
Smith's
cube,
the
L-‐beam
is
a
simple
shape
that
the
mind
immediately
grasps
"One
need
not
move
around
the
object
for
the
sense
of
the
whole,
the
gestalt,
to
occur."
Robert
Morris
Robert
Morris,
Un5tled
(L-‐Beams),
1965
and
1967
(original
destoryed)
121. Robert
Morris
Yet
the
arrangement
of
the
L-‐beams
complicates
this
certainty,
challenging
our
"faith"
in
existenHal
absolutes
-‐-‐
since
it
takes
us
a
moment
to
understand
that
each
of
the
different
objects
is
actually
the
same.
As
Hal
Foster
notes,
Morris'
L-‐beams
are
like
a
"phenomenological
gymnasium"
for
the
mind:
as
our
eyes
move
about
the
objects,
we
test
perceptual
experience
against
known
reality
Robert
Morris,
Un5tled
(L-‐Beams),
1965
and
1967
(original
destroyed)
122. Dan
Flavin
Dan
Flavin
began
working
with
a
different
kind
of
industrial
material
in
the
1960's
-‐-‐
fluorescent
light
bulbs
“The
arHst
radically
limited
his
materials
to
commercially
available
fluorescent
tubing
in
standard
sizes,
shapes,
and
colors,
extracHng
banal
hardware
from
its
uHlitarian
context
and
inserHng
it
into
the
world
of
high
art.”
hRp://www.nga.gov/exhibiHons/2004/flavin/
introducHon/introducHon.shtm
Dan
Flavin,
Un5tled
(to
Henri
Ma5sse),
1964
pink,
yellow,
blue,
and
green
fluorescent
light
Private
CollecHon
123. Dan
Flavin
The
works
were
first
exhibited
at
the
Green
Gallery
in
1964,
where
they
were
shown
in
a
variety
of
arrangements
RecreaHon
of
Dan
Flavin’s
1964
Green
Gallery
ExhibiHon
Zwirner
&
Wirth,
2008
124. “Flavin’s
show
pushed
the
Duchampian
line
of
thinking
a
giant
leap
forward,
arranging
unaltered
ready-‐mades,
in
this
case
standard
fluorescent
fixtures
and
tubes,
into
intensely
opHcal
aestheHc
experiences.
Just
as
Pollock
found
and
deployed
the
drip—something
that
had
always
been
there—Flavin
wed
medium,
message,
and
space:
Light
fixtures
became
the
form
and
the
content
of
his
art.
What
you
saw
was
the
material
and
the
message.”
hRp://nymag.com/arts/art/reviews/46424/
RecreaHon
of
Dan
Flavin’s
1964
Green
Gallery
ExhibiHon
Zwirner
&
Wirth,
2008
125. Dan
Flavin
He
was
inspired
by
the
ideas
of
the
Russian
ConstrucHvist
Vladimir
Tatlin,
who
proposed
a
merging
of
art
and
technology
Dan
Flavin,
"monument"
1
for
V.
Tatlin,
1964
cool
white
fluorescent
light
8
Z.
(244
cm)
high
Dia
Art
FoundaHon
126. Dan
Flavin
“Tatlin
treated
art
in
engineering
terms
and
embraced
industry
and
technology.
Flavin
described
Tatlin
as,
'the
great
revoluHonary,
who
dreamed
of
art
as
science’.”
hRp://www.naHonalgalleries.org/index.php/collecHon/
online_az/4:322/results/0/285/
Dan
Flavin,
Monument
for
V.
Tatlin
no.30
1966-‐69
NaHonal
Gallery
of
Australia
127. Dan
Flavin
Flavin
was
also
aRracted
to
the
work
of
BarneR
Newman,
but
like
others
of
his
generaHon
he
rejected
Newman’s
metaphysical
aspiraHons
BarneR
Newman,
Onement
I
,
1948
Museum
of
Modern
Art
128. Dan
Flavin
He
much
preferred
the
literal
“objecthood”
of
Jasper
Johns’
flags
Jasper
Johns,
Flag,
1954-‐1955
Museum
of
Modern
Art
129. Dan
Flavin
Flavin’s
flourescent
works
were
a
kind
of
marriage
between
the
two
Dan
Flavin,
Pink out of corner (to Jasper Johns), 1963
130. Dan
Flavin
They
are
like
a
Barnet
Newman
zip
painHng
-‐-‐
only
made
out
of
real
objects,
rather
than
painted
simulaHons
Dan
Flavin,
The
nominal
three
(to
William
of
Ockham),
1963
Cool
white
fluorescent
light,
8
Z.
(244
cm)
high
Dia
Art
FoundaHon
131. Dan
Flavin
Flavin’s
works
create
walk
in
environments
that
invite
viewers
to
experience
actual
color
and
light
Dan
Flavin,
Un5tled
(to
Jan
and
Ron
Greenberg)
1972–73
Guggenheim
Museum
132. “NoniniHates
and
skepHcs
oZen
scratch
their
heads
at
Flavin’s
work.
They
look
for
deeper
meanings
or
are
stymied
by
the
simplicity
and
ephemerality
in
his
art.
Yet
for
all
the
rigor
and
reducHvism,
Flavin’s
ideas
are
very
romanHc:
He
wanted
art
to
be
new,
to
ravish
the
eye,
and
to
do
it
in
a
simple,
direct,
dumb
way.”
hRp://nymag.com/arts/art/reviews/46424/
133. Sol
LewiB
Another
leading
Minimalist,
Sol
LewiR
played
a
crucial
role
in
the
transiHon
from
Minimalism
to
Conceptual
art
Image
source:
hRp://portablework.orgallery.org/2011/07/sol-‐lewiRs-‐studio/
134. Sol
LewiB
His
work
typically
consists
of
open
modular
structures
that
perform
infinite
modulaHons
on
the
simple
form
of
the
cube
“The
most
interesHng
characterisHc
of
the
cube
is
that
it
is
relaHvely
uninteresHng.
It
is
best
used
as
a
basic
unit
for
any
more
elaborate
funcHon,
the
grammaHcal
device
from
which
the
work
may
proceed.”
Sol
LewiR
135. Sol
LewiB
In
this
series,
LewiR
explores
the
apparently
simple
problem:
how
many
variaHons
can
you
make
on
an
incomplete
open
cube?
Sol
LewiR,
Incomplete
Open
Cube,
1974
Baked
enamel
on
aluminum
136. Sol
LewiB
The
idea
is
worked
out
in
diagrams
and
models
that
aRack
the
problem
with
the
relentless
logic
of
a
computer
Sol
LewiR,
Varia5ons
of
Incomplete
Cubes,
1974
138. Sol
LewiB
In
the
open
modular
structures,
the
simplicity
of
the
concept
is
complicated
by
the
complexity
of
the
perceptual
experience
as
you
move
around
the
work
Sol
LewiR,
Six
Towers,
1987.
RISD
Museum
139. Sol
LewiR,
Nine
Part
Modular
Cube,
1977
Art
InsHtute
of
Chicago
140. Sol
LewiB
In
Serial
Project,
the
arHst
conducts
a
series
of
permutaHons
on
the
theme
of
solid
and
open
squares
containing
an
interior
verHcal
rectangular
shape
Sol
LewiR,
Serial
Project
#1
ABCD
6,
1968
Image
source:
hRp://www.remediosvaro.biz/AucHon_Results/Contemporary/sothebys_may_12_2004.html
141. Sol
LewiB
The
idea
can
generate
a
variety
of
permutaHons
Sol
LewiR,
Serial
Project
(set
B),
1966
Image
source:
hRp://www.thecityreview.com/f06ccon1.html
142. Sol
LewiB
This
one
is
a
room
scale
installaHon
Sol
LewiR,
Serial
Project,
I
(ABCD)
1966
Museum
of
Modern
Art
143. Sol
LewiR,
Serial
Project,
I
(ABCD)
1966
Image
source:
hRp://www.flickr.com/photos/islespunkfan/3863371250/sizes/l/in/photostream/
145. Sol
LewiB
LewiR
transiHoned
to
Conceptual
art
when
he
realized
that
he
did
not
even
have
to
make
his
art
Sol
LewiR,
Un5tled
drawing,
1968
Image
source:
hRp://www.hearzineart.com/Poveralist.html
146. Sol
LewiB
Because
the
work
is
based
on
logical
systems,
the
arHst
could
simply
provide
instrucHons
Sol
LewiR,
Fieeen
Etchings,
1973
NaHonal
Gallery
of
Australia
147. Sol
LewiB
In
his
series
of
wall
drawings,
the
arHst
provides
instrucHons
Sol
LewiR,
Instruc5ons
faxed
for
wall
drawing
installa5on
at
Franklin
Furnace,
1996
148. Sol
LewiB
Assistants
carry
out
the
work
Assistant
execuHng
Sol
LeWiR’s
Wall
Drawing
#65.
Lines
not
short,
not
straight,
crossing
and
touching,
drawn
at
random
using
four
colors,
uniformly
dispersed
with
maximum
density,
covering
the
enHre
surface
of
the
wall
2004
NaHonal
Gallery
of
Art
150. Sol
LewiB
The
work
is
painted
over
at
the
end
of
the
exhibiHon,
but
the
museum
owns
the
instrucHons,
and
a
cerHficate
of
authenHcity
Sol
LewiR,
wall
drawing
instrucHons,
Tate
Gallery