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Minimalism	
  

Art	
  109A:	
  	
  Art	
  since	
  19405Westchester	
  Community	
  College	
  
Fall	
  2012	
  
Dr.	
  Melissa	
  Hall	
  
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	
  
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	
  
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	
  
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	
  
“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/	
  
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	
  
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	
  
6.1 minimalism
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	
  
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	
  
“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	
  
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	
  
CriHcs	
  made	
  much	
  of	
  the	
  “expressive”	
  
meaning	
  of	
  Abstract	
  Expressionism	
  




                                                          Norman	
  Rockwell,	
  The	
  Connoisseur,	
  The	
  Saturday	
  Evening	
  
                                                          Post,	
  January	
  13,	
  1962	
  	
  
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”	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
Frank	
  Stella	
  
Stella’s	
  Htles	
  seem	
  to	
  contradict	
  his	
  
emoHonal	
  detachment	
  




                                                           Frank	
  Stella,	
  Die	
  Fahne	
  Hoch,	
  1959	
  
                                                           Whitney	
  Museum	
  
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	
  
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	
  
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	
  
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”	
  
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/	
  
Frank	
  Stella,	
  Empress	
  of	
  India,	
  1965	
  
Museum	
  of	
  Modern	
  Art	
  
Frank	
  Stella,	
  Empress	
  of	
  India,	
  1965	
  
Image	
  source:	
  	
  hRp://www.flickr.com/photos/noodle/2244592760/sizes/o/in/photostream/	
  
"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	
  
“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	
  
Later	
  Work	
  
Stella	
  later	
  introduced	
  color	
  into	
  his	
  
work	
  




                                                            Frank	
  Stella,	
  Gran	
  Cairo,	
  1962.	
  	
  Whitney	
  Museum	
  
Frank	
  Stella,	
  Geometric	
  Varia5ons,	
  at	
  Paul	
  Kasmin	
  Gallery,	
  2011	
  
hRp://www.paulkasmingallery.com/exhibiHons/2011-­‐09-­‐22_frank-­‐stella/artworks	
  
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	
  
Frank	
  Stella,	
  Irregular	
  Polygons,	
  Toledo	
  Museum	
  
hRp://www.youtube.com/watch?v=lgaPuHDV8v0&feature=related	
  
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	
  
Frank	
  Stella,	
  Harran	
  II,	
  1967	
  
Guggenheim	
  Museum	
  
Op	
  Art	
  
Contemporaneous	
  with	
  Minimalism	
  

Explored	
  purely	
  opHcal	
  experience	
  




                                                 ExhibiHon	
  Catalog,	
  The	
  Responsive	
  Eye,	
  1965	
  
                                                 MOMA	
  
Op	
  Art	
  
“Pop”	
  version	
  of	
  “what	
  you	
  see	
  is	
  what	
  
you	
  see”	
  




                                                                  Victor	
  Vasarely,	
  Vega-­‐Nor,	
  1969	
  
                                                                  Albright	
  Knox	
  Museum	
  
Bridget	
  Riley,	
  Movement	
  in	
  Squares,	
  1961	
  
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/	
  
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	
  
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	
  
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	
  
Donald	
  Judd	
  
Also	
  influenced	
  by	
  Russian	
  
ConstrucHvist	
  idea	
  of	
  “real	
  materials	
  in	
  
real	
  space”	
  




                                                              Vladimir	
  Tatlin,	
  Corner	
  Relief,	
  1915	
  
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	
  
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	
  
Donald	
  Judd	
  
He	
  called	
  his	
  pieces	
  “specific	
  objects”	
  
to	
  disHnguish	
  them	
  from	
  “painHng”	
  or	
  
“sculpture”	
  




                                                            Donald	
  Judd,	
  Un5tled,	
  1972.	
  	
  Enamel	
  and	
  aluminum	
  
                                                            Tate	
  Gallery	
  
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	
  
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	
  
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	
  
Wait	
  a	
  second,	
  
                       how	
  can	
  
Donald	
  Judd	
  
                     something	
  so	
  
                       boring	
  be	
  
                      considered	
  
                             art?	
  




                                   Donald	
  Judd,	
  Un5tled,	
  1968.	
  	
  Brass	
  
                                   Museum	
  of	
  Modern	
  Art	
  
How	
  can	
  it	
  be	
  
                     art	
  if	
  it	
  doesn’t	
  
Donald	
  Judd	
              mean	
  
                        anything?	
  




                                      Donald	
  Judd,	
  Un5tled,	
  1968.	
  	
  Brass	
  
                                      Museum	
  of	
  Modern	
  Art	
  
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	
  
Donald	
  Judd	
  
They	
  wanted	
  us	
  to	
  see	
  the	
  work,	
  not	
  
its	
  “meaning”	
  




                                                               Ellsworth	
  Kelly,	
  Colors	
  for	
  a	
  Large	
  Wall,	
  1951	
  
                                                               Museum	
  of	
  Modern	
  Art	
  
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	
  
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	
  
Molly	
  Einhorn,	
  Donal	
  Judd’s	
  “UnHtled”	
  +	
  Me	
  
hRp://mollyeinhorn.wordpress.com/	
  
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	
  
Death	
  of	
  the	
  Author	
  
This	
  is	
  why	
  Michael	
  Fried	
  dismissed	
  
Minimalism	
  as	
  being	
  “theatrical”	
  
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/	
  
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            	
  	
  
Donald	
  Judd	
  
Seriality	
  =	
  “anonymous”	
  composiHon	
  

Different	
  from	
  “relaHonal	
  sculpture”	
  




                                                   Anthony	
  Caro,	
  Early	
  One	
  Morning,	
  1962	
  
                                                   Tate	
  Gallery	
  
Donald	
  Judd	
  
Seriality	
  internalizes	
  industrial	
  modes	
  
of	
  producHon	
  




                                                       Donald	
  Judd,	
  UnHtled	
  (Six	
  boxes)	
  1974.	
  	
  Brass	
  
                                                       NaHonal	
  Gallery	
  of	
  Australia            	
  	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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	
  
“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	
  
Donald	
  Judd,	
  100	
  un5tled	
  works	
  in	
  mill	
  aluminum,	
  1982-­‐1986	
  
Donald	
  Judd,	
  100	
  un5tled	
  works	
  in	
  mill	
  aluminum,	
  1982-­‐1986	
  
Image	
  source:	
  	
  hRp://food-­‐dileRante.blogspot.com/2010_05_01_archive.html	
  
“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	
  
Donald	
  Judd,	
  15	
  Un5tled	
  works	
  in	
  concrete	
  1980-­‐1984	
  
hRp://studioporcupine.blogspot.com/2012/03/chinaH-­‐foundaHon-­‐part-­‐1-­‐marfa-­‐tx.html	
  
Donald	
  Judd,	
  15	
  Un5tled	
  works	
  in	
  concrete	
  1980-­‐1984	
  
hRp://studioporcupine.blogspot.com/2012/03/chinaH-­‐foundaHon-­‐part-­‐1-­‐marfa-­‐tx.html	
  
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	
  
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	
  
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	
  
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	
  
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	
  
Tony	
  Smith,	
  Free	
  Ride,	
  1962	
  	
  
Museum	
  of	
  Modern	
  Art	
  
Tony	
  Smith,	
  Free	
  Ride,	
  1962	
  	
  
Museum	
  of	
  Modern	
  Art	
  
Tony	
  Smith	
  
But	
  other	
  works	
  by	
  Smith	
  are	
  not	
  as	
  
"pure"	
  in	
  Minimalist	
  terms	
  




                                                               Tony	
  Smith,	
  Duck,	
  1962	
  
                                                               Pepsico	
  Sculpture	
  Garden	
  
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	
  
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	
  
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	
  
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	
  
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	
  
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
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	
  
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	
  
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	
  
Carl	
  Andre	
  
Lever	
  was	
  a	
  site-­‐specific	
  work	
  
consisHng	
  of	
  	
  137	
  fire	
  bricks	
  laid	
  side	
  
by	
  side	
  on	
  the	
  floor	
  




                                                                  Carl	
  Andre,	
  Lever,	
  1966	
  
Carl	
  Andre	
  
He	
  believed	
  that	
  verHcality	
  had	
  
inherently	
  anthropomorphic	
  
connotaHons	
  




   David	
  Smith,	
  Cubi	
  XVII,	
  1963	
     Carl	
  Andre,	
  Lever,	
  1966	
  
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	
  
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	
  
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	
  
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	
  
Carl	
  Andre	
  
Equivalent	
  VIII,	
  part	
  of	
  the	
  series,	
  was	
  
purchased	
  by	
  the	
  Tate	
  Gallery	
  in	
  1972	
  




                                                                 Carl	
  Andre,	
  Equivalent	
  VIII,	
  1966	
  
                                                                 Tate	
  Gallery	
  
Carl	
  Andre	
  
The	
  work	
  consisted	
  of	
  120	
  fire	
  bricks	
  
arranged	
  in	
  a	
  rectangular	
  arrangement	
  
on	
  the	
  floor	
  




                                                             Carl	
  Andre,	
  Equivalent	
  VIII,	
  1966	
  
                                                             Tate	
  Gallery	
  
Carl	
  Andre	
  
It	
  set	
  off	
  a	
  major	
  controversy	
  in	
  the	
  
BriHsh	
  press	
  
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	
  
Carl	
  Andre	
  
The	
  arHst	
  signaled	
  his	
  solidarity	
  with	
  
the	
  working	
  man	
  by	
  always	
  wearing	
  
bib	
  overalls	
  




                                                            Carl	
  Andre	
  
Carl	
  Andre	
  
But	
  the	
  common	
  man	
  thought	
  the	
  work	
  
was	
  incomprehensible	
  




                                                            Carl	
  Andre,	
  Equivalent	
  VIII,	
  1966	
  
                                                            Tate	
  Gallery	
  
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	
  
Carl	
  Andre,	
  Steel-­‐Aluminum	
  Plain,	
  1969	
  
Art	
  InsHtute	
  of	
  Chicago	
  
Carl	
  Andre	
  
To	
  differenHate	
  his	
  work	
  from	
  
sculpture	
  on	
  a	
  pedestal,	
  he	
  invited	
  
viewers	
  to	
  walk	
  on	
  the	
  work	
  	
  
So	
  what	
  are	
  we	
  
actually	
  supposed	
  to	
  
 do	
  with	
  a	
  sculpture	
  
         like	
  this?	
  
Carl	
  Andre	
  
This	
  guy	
  actually	
  has	
  the	
  right	
  
idea	
  




                                                     hRp://www.youtube.com/watch?v=t4VZtNa01EA	
  
Carl	
  Andre	
  
Think	
  about	
  Cage’s	
  4’	
  33”	
  
Where	
  is	
  the	
  
                             sculpture?	
  	
  There’s	
  
                               nothing	
  there!	
  




Carl	
  Andre,	
  144	
  Lead	
  Squares,	
  1969	
  
MOMA	
  
It’s	
  like	
  a	
  
                                                            monchrome	
  
                                                        painHng,	
  only	
  its	
  on	
  
                                                            the	
  floor	
  .	
  .	
  .	
  




Carl	
  Andre,	
  144	
  Lead	
  Squares,	
  1969	
  
MOMA	
  
Robert	
  Morris	
  
Like	
  Donald	
  Judd,	
  Robert	
  Morris	
  was	
  
influenHal	
  as	
  both	
  an	
  arHst	
  and	
  a	
  
theorist	
  




                                                         Robert	
  Morris,	
  I-­‐Box,	
  1962	
  
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)	
  
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)	
  
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)	
  
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	
  
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	
  	
  
“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	
  	
  
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	
  
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	
  
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	
  
Dan	
  Flavin	
  
He	
  much	
  preferred	
  the	
  literal	
  
“objecthood”	
  of	
  Jasper	
  Johns’	
  flags	
  




                                                     Jasper	
  Johns,	
  Flag,	
  1954-­‐1955	
  
                                                     Museum	
  of	
  Modern	
  Art	
  
Dan	
  Flavin	
  
Flavin’s	
  flourescent	
  works	
  were	
  a	
  kind	
  
of	
  marriage	
  between	
  the	
  two	
  




                                                           Dan	
  Flavin,	
  Pink out of corner (to Jasper Johns), 1963
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	
  	
  
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           	
  
“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/	
  
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/	
  
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	
  
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	
  
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	
  
Sol	
  LewiR,	
  Varia5ons	
  of	
  Incomplete	
  Cubes,	
  1974	
  
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	
  
Sol	
  LewiR,	
  Nine	
  Part	
  Modular	
  Cube,	
  1977	
  
Art	
  InsHtute	
  of	
  Chicago	
  
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	
  
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	
  
Sol	
  LewiB	
  
This	
  one	
  is	
  a	
  room	
  scale	
  installaHon	
  




Sol	
  LewiR,	
  Serial	
  Project,	
  I	
  (ABCD)	
  1966	
  
Museum	
  of	
  Modern	
  Art	
  
Sol	
  LewiR,	
  Serial	
  Project,	
  I	
  (ABCD)	
  1966	
  
Image	
  source:	
  	
  hRp://www.flickr.com/photos/islespunkfan/3863371250/sizes/l/in/photostream/	
  
Sol	
  LewiR,	
  Serial	
  Project,	
  I	
  (ABCD)	
  1966	
  
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	
  
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	
  
Sol	
  LewiB	
  
In	
  his	
  series	
  of	
  wall	
  drawings,	
  the	
  arHst	
  
provides	
  instrucHons	
  




                                                                     Sol	
  LewiR,	
  Instruc5ons	
  faxed	
  for	
  wall	
  drawing	
  installa5on	
  	
  
                                                                     at	
  Franklin	
  Furnace,	
  1996	
  
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	
  
6.1 minimalism
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	
  

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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/  
  • 30. Frank  Stella,  Empress  of  India,  1965   Museum  of  Modern  Art  
  • 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  
  • 39. Frank  Stella,  Harran  II,  1967   Guggenheim  Museum  
  • 40. Op  Art   Contemporaneous  with  Minimalism   Explored  purely  opHcal  experience   ExhibiHon  Catalog,  The  Responsive  Eye,  1965   MOMA  
  • 41. Op  Art   “Pop”  version  of  “what  you  see  is  what   you  see”   Victor  Vasarely,  Vega-­‐Nor,  1969   Albright  Knox  Museum  
  • 42. Bridget  Riley,  Movement  in  Squares,  1961  
  • 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  
  • 60. Molly  Einhorn,  Donal  Judd’s  “UnHtled”  +  Me   hRp://mollyeinhorn.wordpress.com/  
  • 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  
  • 76. 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  
  • 86. Tony  Smith,  Free  Ride,  1962     Museum  of  Modern  Art  
  • 87. 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  
  • 111. Carl  Andre,  Steel-­‐Aluminum  Plain,  1969   Art  InsHtute  of  Chicago  
  • 112. Carl  Andre   To  differenHate  his  work  from   sculpture  on  a  pedestal,  he  invited   viewers  to  walk  on  the  work    
  • 113. So  what  are  we   actually  supposed  to   do  with  a  sculpture   like  this?  
  • 114. Carl  Andre   This  guy  actually  has  the  right   idea   hRp://www.youtube.com/watch?v=t4VZtNa01EA  
  • 115. Carl  Andre   Think  about  Cage’s  4’  33”  
  • 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  
  • 137. 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/  
  • 144. Sol  LewiR,  Serial  Project,  I  (ABCD)  1966  
  • 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