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In Six Years Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology, into which is woven a rich collection of original documents including texts by and taped discussions among and with the artists involved and by Lippard, who has also provided a new preface for this edition. The result is a book with the character of a lively contemporary forum that provides an invaluable record of the thinking of the artists - an historical survey and essential reference book for the period.
Stretching lengths of yarn across interior spaces, American artist Fred Sandback (1943 2003) created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer. Drawing on Sandback's substantial archive, Edward A. Vazquez demonstrates that the artist's work with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback's site-determined practice draws viewers' focus to their connection to space and others sharing it. As Vazquez shows, Sandback's art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.
The South-Korean born artist Lee Ufan made a risky wager early in his career, introducing 'non-action' into his work. This notion, which recalls traditional Asian values, simultaneously echoes the quest of Modernist and Conceptual Art. A major figure of contemporary art, Lee Ufan is also a philosopher and a poet. During the 1960s in Japan, he contributed to shaping Mono-ha, a movement similar to Italy's Arte Povera and American Minimalism. Casting an eye across the artist's paintings and his three-dimensional oeuvre, from the beginning of his career through to his current work, this volume seeks to understand how Lee Ufan, who has espoused minimising intervention since he began making art, attempts to 'receive' the world in its natural, unadulterated state.
The first book to address the full body of Robert Morris's "object sculptures" Over the past half-century, American artist and critic Robert Morris (b. 1931) has been a key figure in the history of minimal, post-minimal, and conceptual art. Between 1960 and 1965, part of his artistic output included approximately 100 "object sculptures" or, as Morris called them at the time, "process type objects." These consist of plaques, containers, and assisted or simulated readymades of wood, Sculpmetal, and lead. This book is the first study to address the object sculptures as a full and complex yet coherent body of work. Jeffrey Weiss, an authority on modernist and postwar sculpture, in close collaboration with Morris, systematically catalogues the object sculptures, and subjects them to critical and historical interpretation in the context of Morris's early practice overall. Featuring new photography of many of the works and an interview with the artist, this book offers an important and original perspective on a crucial early period in the career of one of America's most important artists.
In the 1960s, a group of Los Angeles artists fashioned a body of work that has come to be known as the "LA Look" or West Coast Minimalism. Its distinct aesthetic is characterized by clean lines, simple shapes, and pristine reflective or translucent surfaces, and often by the use of bright, seductive colors. While the role of materials and processes in the advent of these truly indigenous Los Angeles art forms has often been commented on, it has never been studied in depth -- until now. Made in Los Angeles focuses on four pioneers of West Coast Minimalism -- Larry Bell, Robert Irwin, Craig Kauffman, and John McCracken -- whose working methods, often borrowed from other industries, featured the use of synthetic paints and resins as well as industrial processes to create objects that are both painting and sculpture. Bell, for example, coated plate glass with films of material that alter the way the light is absorbed, reflected, and transmitted, while Kauffman employed a process usually reserved for commercial signs for his work. McCracken coated plywood with fiberglass then spray painted it with countless layers of automotive paints, and Irwin spray-painted discs of hammered aluminum or vacuum-formed plastics. The detailed study of each artist's work is presented in the context of the emergence of modern art in Los Angeles, the burgeoning mid-twentieth-century gallery scene, and the light-infused LA cityscape. Initially undertaken as part of the Pacific Standard Time: Art in L.A.1945-1980 initiative, this volume combines technical art history and scientific analysis to investigate conservation issues associated with the work of these artists, which are often emblematic of issues in the conservation of contemporary art in general.
What is minimalism? The answer to this simple question has defied simple answers. In this highly readable history of minimalist art James Meyer argues that "minimalism" was not a coherent movement but a field of overlapping and sometimes opposed practices. He traces in comprehensive detail the emergence of six figures associated with the development-Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, and Anne Truitt-and how the notion of minimalism came to be constructed around their art in the 1960s. Despite distinctive differences in method and points of view, Meyer shows, these artists became equated in a series of important exhibitions and texts that led to their designation as minimalists. Beginning with the first reviews of minimalist shows, the book tracks the development of an art that critics dubbed Cool Art, ABC Art, and Primary Structures before settling on the deprecating label "minimal art." Suggesting that such work was overly reduced in form and facture, this term implied that the new abstraction was barely legible as fine art to some viewers. Meyer describes the heated polemic that unfolded in response to these practices, the differing claims of the artists, and the sometimes intense rivalries that developed within a highly competitive, fashion-minded New York art scene. The book culminates with an analysis of minimalism's canonization in the late sixties, its reception in Europe, and its discrediting by leftist viewers who associated the new art with American capitalist-imperialism of the Vietnam War.
The landmark Jewish Museum exhibition "Primary Structures" offered the first presentation of Minimalist sculptures in the United States, in 1966. The accompanying catalogue by Kynaston McShine became a key resource on artists such as Donald Judd, Carl Andre, Dan Flavin, and Sol LeWitt, who were virtually unknown at the time. "Other Primary Structures "is a long-overdue reintroduction of this classic, out-of-print text. This two-volume set includes a replica of the original catalogue, plus a new companion volume by Jens Hoffmann that offers a global survey of early Minimalist sculpture during the 1960s and 1970s, featuring important sculptors from Asia, Africa, Latin America, and Eastern Europe, and complementing the earlier catalogue's focus on American and British artists. Beautifully designed, this publication comes enclosed in a clear jacket that pays homage to the original catalogue's iconic cover. "Other Primary Structures" is invaluable for the study of modern art history and provides an authoritative survey of Minimalist sculpture in the 1960s.
In Paris in the 1920's a new style was born, rejecting the embellishments of Art Nouveau and Art Deco, it allied the linear proportions of late eighteenth-century furniture to a twentieth-century perception, paring down superfluous detail to the essence of classic modernism. The ostensible creation of iconic interior decorator Jean-Michel Frank, the new style owed much to a circle of South American collectors and patrons, including Eugenia Errazuriz, a lifelong friend of Picasso and Stravinsky. This new study documents how their interchange of partners and ideas led to innovation in every field of the arts. It is packed with fresh material and original insights on artists such as Man Ray, John Singer Sargent and Diaghilev.
"So perspicuous was Battcock's choice of articles in "Minimal Art that his book has proved to be an exceptionally telling index of the critical discourse of its time. This is the key primary source book--for that matter it remains the key book--on the subject of Minimal Art, a movement that has lately, newly become a topic of consuming interest to many modern art historians, critics, curators and artists."--Anna C. Chave, author of "Mark Rothko: Subjects in Abstraction
"Good criticism of contemporary art movements is both rare and scattered, and readers with access to a wide range of periodicals and catalogue introductions are few. . . Minimal Art is so obviously the most important movement of the 1960s, and equally certainly will continue to be so in the early 1970s, that this anthology will be a valuable compilation of statements by artists and assessments by critics."--David Irwin, "Apollo
"Minimalism" offers the first straightforward and useful summary of
the output and outlook of the artists associated with minimalism in
its heyday, as well as its subsequent development into more nuanced
visual forms and its relationship to postmodernism. Editor James
Meyer is a specialist who has written extensively on Carl Andre,
Donald Judd, Dan Flavin, and Sol LeWitt, four of the seminal
minimalists (the fifth is Robert Morris). Despite the intellectual
thorniness of this art, Meyer avoids the turgidity that marks much
of the writing associated with it.
In 1968 artist Jennifer Bartlett (b. 1941) began painting in what
would become her celebrated and trademark style--colored dots on
gridded steel plates and canvas. Focusing on the single and
multi-plate pieces that began in 1968 and culminated in 1976 when
Bartlett sprang onto the art scene with her pivotal "Rhapsody"
painting (The Museum of Modern Art, New York), this important book
analyzes for the first time the significant role these formative
and long-overlooked works played in her artistic development.
Reacting against and building upon the huge leaps and bounds British sculpture made in the 1950's with the so called 'Geometry of Fear' artists, the 1960's saw sculpture released from the confines of the plinth where it explored new materials, bright colours and introduced minimalism. With Anthony Caro leading the way, a new colourful abstract language began to be forged globally. Britain in particular played a potent role, with artists such as Phillip King and William Tucker being held in high esteem as key figures in what was soon to be known as the 'New Generation' of sculptors, a phrase coined at the Whitechapel Art Gallery exhibition of 1965. Experimentation of new materials saw more artists move away from the figurative form into abstraction. This, tied with bold and vibrant colour, became a trademark of this new wave of sculpture. Huge abstract forms suspended in mid-air which appeared to defy the weight of their materials were not only radical and exciting but sparked a change in the behaviour of how people interacted and viewed sculpture. Sculpture in the Sixties forms part of Pangolin London's series of museumquality exhibitions that re-engage and explore the history of British Sculpture. The catalogue contains a foreword by Polly Bielecka and shows the sculptures along with quotes. Artists include: David Annesley, Michael Bolus, Ralph Brown, Sir Anthony Caro, Lynn Chadwick, Geoffrey Clarke, Garth Evans, George Fullard, Nigel Hall RA, John Hoskin, Phillip King RA, Bryan Kneale RA, Liliane Lijn, Kim Lim, William Pye, Tim Scott, William Tucker RA & Brian Wall.
This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement. Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years-in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raul Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Helio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson
Pinelli's painting offers the image of an energy source that seems to arise spontaneously from the spirit of the place. Considered today as work that moves in real space with the lightness of a gesture that suddenly takes shape, depositing itself on the walls of places in which it happens to be, Pino Pinelli's painting offers the image of an energy source that seems to arise spontaneously from the spirit of the place, displaying its infinite possibilities of being, breathing, imagining, and generating new solutions; the fruit, as Pinelli's friend, the poet Carlo Invernizzi, said in one of his first interventions dedicated to the artist at the end of the 1980s, "of an irrepressible yearning to be de-localised, so as to be a wandering centre on the margins and beyond the boundaries in a prefiguration of the world that is created as a possibility of the boundlessness." In this, Pinelli's painting never fails to go beyond the sensory perception one can have of space, of material-colour, even beyond the idea of painting itself. Text in English and Italian.
This book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement's development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism's "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts.
Among the most influential feminist artists working today, Mary Kelly (b.1941) first came to prominence as a Conceptual artist in 1976 with the controversial Post Partum Document series, notorious for incorporating her baby's dirty nappies. She creates large series of indexical works - drawings, images, text panels, photographs - which combine investigations into the diverse relations between psychoanalysis, feminism and art. Kelly often deploys prevailing literary or scientific genres, ranging from romantic fiction to psychoanalytical and medical diagnoses that define women as 'other'. She subtly yet insistently turns them on their head with her own richly textured narratives and images. While phases in her work have been represented in catalogues, Kelly's complete oeuvre has never been published before in its entirety. In the Survey, art historian Margaret Iverson explores Kelly's substantial oeuvre using three classical yet contentious Freudian themes: fetishism, hysteria and paranoia. Author of On the Museum's Ruins and numerous articles on AIDS, Douglas Crimp talks with the artist about her work within a broader critical context. Homi K. Bhabha, author of Locations of Culture, focuses on Gloria Patri, a work revolving around masculinity and the Gulf War. Mary Kelly has chosen writings by the philosopher and psychoanalyst Julia Kristeva and the novelist Lynne Tillman. Kelly's theoretical writings have been central to postmodern discourse. In addition to key texts, this book includes interviews and examples of her fiction from Interim.
Ellsworth Kelly is one of this generation's most important artists. Over the course of his career, Kelly has developed a special relationship with the city of Dallas and its art community, and major holdings of his work in all media can be found there. This handsomely designed book brings together works from the Dallas Museum of Art and private collections to present a select overview of his career, ranging from a youthful 1947 self-portrait drawing to a towering wood sculpture from the mid-1990s.
The American artist Brice Marden (b. 1938) is one of the great contemporary painters.
Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.
Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.
In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.
Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving aBachelor of Fine Arts in 1961. That year, he worked at Yale NorfolkSummer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven.He moved to New York City, and worked as a guard in the JewishMuseum. At this time he was married to Pauline Baez, the sister ofJoan Baez, the singer, and had a son, Nicholas.
In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.
Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.
This is the only full-length appraisal available. Fully illustrated, with new illustrations. This book has been revised. ISBN 9781861713766. 196 pages. www.crmoon.com
At the age of 81, Yvon Lambert is one of the most influential collectors of our time. He was only 14 years old when he used his pocket money to buy his first work of art. In 1966, he opened his own gallery in Paris, which soon became a top venue for contemporary art. It was Lambert who introduced the minimal art, land art and conceptual art movements to a wider European audience at a time when they were still relatively new. Besides his work as an art dealer, Lambert has spent the past fifty years creating one of the most prominent collections of contemporary art. In 2011, he donated more than 600 of his works to the French state, which are now on display in a specially dedicated museum in Avignon. In the context of the art project Skulptur Projekte Munster 2017, the Pablo Picasso Art Museum in Munster brings the Lambert Collection to Germany for the first time. In particular, the exhibition features works of artists who have been part of the Skulptur Projekte programme since its early years. Some of their works include installations that still exist in the city today.
The explosion of minimalism into the worlds of visual arts, music and literature in the mid-to-late twentieth century presents one of the most radical and decisive revolutions in aesthetic history. Detested by some, embraced by others, minimalism's influence was immediate, pervasive and lasting, significantly changing the way we hear music, see art and read literature. In The Theory of Minimalism, Marc Botha offers the first general theory of minimalism, equally applicable to literature, the visual arts and music. He argues that minimalism establishes an aesthetic paradigm for rethinking realism in genuinely radical terms. In dialogue with thinkers from both the analytic and continental traditions - including Kant, Danto, Agamben, Badiou and Meillassoux - Botha develops a constellation of concepts which together encapsulate the transhistorcial and transdisciplinary reach of minimalism. Illustrated by a range of historical, canonical and contemporary minimalist works of different media, from the caves of early Christian ascetics to Samuel Beckett's late prose, Botha offers a bold and provocative argument which will equip readers with the tools to engage critically with past, present and future minimalism, and to recognize how, in a culture caught between the poles of excess and austerity, minimalism still matters.
..". a landmark work, the first attempt to write a pre-history of minimalism that embraces all the arts. Its importance cannot be overestimated." K. Robert Schwarz, Institute for Studies in American Music
"All told, this book is mandatory reading for anyone who wishes to understand the history and nature of minimalism." i/e NINE
"The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power," says Strickland in this study, the first to examine in detail Minimalist tendencies in the plastic arts and music. Investigating the origins of Minimalism in postwar American culture, Strickland redefines it as a movement that developed radically reductive stylistic innovations in numerous media. A survey with wit."
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