Minimalism: Art and Polemics in the Sixties / Edition 1

Minimalism: Art and Polemics in the Sixties / Edition 1

by James Meyer
     
 

ISBN-10: 0300105908

ISBN-13: 9780300105902

Pub. Date: 09/20/2004

Publisher: Yale University Press


The simple question “What is minimalism?” has defied simple answers. Artists known as minimalists have distinctively different methods and points of view. This highly readable history of minimalist art shows how artists as diverse as Carl Andre, Donald Judd, Robert Morris, and Anne Truitt came to be designated as minimalists during a series of

Overview


The simple question “What is minimalism?” has defied simple answers. Artists known as minimalists have distinctively different methods and points of view. This highly readable history of minimalist art shows how artists as diverse as Carl Andre, Donald Judd, Robert Morris, and Anne Truitt came to be designated as minimalists during a series of exhibitions in the 1960s.
“I can think of no book that even undertakes a comparable art historical account—not merely tracing a movement year by year, but showing how the movement’s consciousness of itself emerged.”—Arthur Danto, Times Literary Supplement
“Many skeptics deem the sixties too close for comfort and hence not suitable for an art history in the grand tradition. James Meyer proves them wrong. Minimalism: Art and Polemics in the Sixties establishes a historical precision and seriousness that many have thought lacking in the recent wave of writing about postwar American art.”—Christine Mehring, Art Journal
“By far the best account to date of Minimalism’s development and the essential point of departure for all future research on the subject.”—Pepe Karmel, Art in America

Product Details

ISBN-13:
9780300105902
Publisher:
Yale University Press
Publication date:
09/20/2004
Edition description:
New Edition
Pages:
348
Product dimensions:
7.50(w) x 10.00(h) x (d)

Table of Contents

acknowledgmentsvii
introduction1
a minimal field3
minimal polemics6
1spring 196611
a tour of "Primary Structures"13
21959-196231
the early years33
3196343
the emergence of Judd and Morris45
Truitt at Andre Emmerich63
4196475
introduction to the "minimal" 1"Black, White, and Gray"77
introduction to the "minimal" 2"Everyman's Infinite Art"; Di Suvero's Attack82
introduction to the "minimal" 3The art student's doubt85
Flavin, Judd, and Stella interviewed87
enter Flavin; "Eleven Artists"95
"8 Young Artists"109
Morris's plywood show113
51965117
"Shape and Structure: 1965": the fight for Stella's "soul"119
Andre's styrofoam show: Sculpture-as-Place129
"Specific Objects"134
"Minimal Art" and "ABC Art": popularization of the "minimal"142
61966151
Morris's "Notes on Sculpture"153
the serial attitude: Judd at Castelli, "Systemic Painting," and the Finch Shows167
seriality as negation184
Andre's brick show189
LeWitt at the Dwan Gallery: displacement into conceptualism200
71967: The Critiques of Greenberg and Fried209
"Recentness of Sculpture": minimalism and "Good Design"211
The case for Truitt: minimalism and gender222
The aesthetics of doubt: "Art and Objecthood"229
81968: Canonization/Critique245
Judd's Whitney show and Battcock's anthology247
"The Art of the Real: USA 1948-1968" and the reception abroad253
"Minimal Art," "Anti Form," and the social critique of minimalism262
Notes271
Bibliography317
Photograph and copyright credits327
Index328

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