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MINIMALISM
What you see is what you see.
Robert Smithson—Mirror Stratum, 1966
Dan Flavin—Untitled (for you, Leo, in long respect and affection) 3, 1978
Alan Sonfist—Earth Monument to Chicago, 1965-1977
Characteristics of Minimalism
   Primarily sculpture
   Geometric forms
   Industrially produced
   Non-referential
   Materials appear as materials
   No distracting colors
   Gallery and viewer are part of the piece
Social and Political Background
   Minimalism was a product of its time
     Mass-production

     Media

     Conflicts   between capitalism and democracy
   1960s—a time of radical upheaval and blurring of
    boundaries
   “End” of Minimalism
     Artbusiness
     Conservative backlash
Artistic Context
   Minimalism is a reaction to abstract expressionism
     Rejected   romantic exuberance and self-celebration
   Pop Art expanded the art world
     Shared characteristics
     Popularized art
Reactions to Minimalism
   “Recentness of Sculpture”—Clement Greenberg
     Minimalism was confusing innovation with novelty
     “Novelty Art” has nothing to do with art

   “Art and Objecthood”—Michael Fried
     Minimalism   was challenging modernism
Frank Stella
   Parallel
   Order
   Denied illusion
   Stripes
Frank Stella—The Marriage of Reason and Squalor, 1959
Frank Stella—Union I, 1966
Frank Stella—Darabjerd I, 1968
Donald Judd


   "A shape, a volume, a color, a surface is something
    itself. It shouldn't be concealed as part of a fairly
    different whole." 
    -Donald Judd
Donald Judd Continued
   Space and Dimension
   Rectangular Plane
   Order
   Monochrome
Donald Judd—Untitled (Stack), 1967
Donald Judd—Untitled, 1966
Robert Morris


   “Simplicity of shape does not necessarily equate
    with simplicity of experience.”
    -Robert Morris
Robert Morris Continued
   Danced before becoming a sculptor
     Interested   in process of production and perceiving
   “Notes on Sculpture Parts 1 & 2” (1966)
     Sculpture   as Gestalt
         Focus on relationship between viewer, space, and sculpture,
          rather than relationships within a piece
   Avoids projection of human nature onto art
Robert Morris—Green Gallery (Plywood Show), 1964
Robert Morris—Untitled (L-beams), 1965
Carl Andre
   “My work is atheistic, materialistic, and communistic.
    It is atheistic because it is without transcendent form,
    without spiritual or intellectual quality. Materialistic
    because it is made out of its own materials without
    pretension to other materials. And communistic
    because the form is equally accessible to all men.”
    -Carl Andre
Carl Andre Continued
   Used pre-fabricated materials
   Unconnected arrangement of individual elements
    within each piece
   Limitation to relatively simple shapes
   Sculpture as place
   Elements are indistinguishable from raw materials
Carl Andre—144 Magnesium Square, 1969
Carl Andre—Sphinges, 1985
Sol Lewitt


   “The most interesting characteristic of the cube is
    that it is relatively uninteresting.”
    -Sol Lewitt
Sol Lewitt Continued
 Geometrical progression through modular
  structures
 Based on repetition, permutation, and serial

  formulas
 Simplified past industrial material—focus on

  concepts and systems
Sol Lewitt—Open Modular Cube, 1966
Sol Lewitt—HRZL 1,1990
Dan Flavin

   “One might not think of light as a matter of fact,
    but I do. And it is, as I said, as plain and open and
    direct an art as you will ever find.”
    -Dan Flavin
Dan Flavin Continued
 Limited materials to standard fluorescent light
 Emphasis on physical space and light

  interaction
 Has industrial qualities but is impermanent

 Saw himself as a “maximalist”
Dan Flavin–“monument" 1 for V. Tatlin, 1964
Dan Flavin—Untitled (for Donna), 1971
Influence of Minimalism
   Minimalism spurred paradigm shifts
     Art no longer had to be a unique object created by an
      artist
     Reinvented sculpture

     Broadened definition and rules of art

   Closed gap between high culture and mass culture

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