Process and Flux
Please submit student course evaluation!
Only TWO students have responded so far :0(











Plywood Show
Robert Morris, Plywood Show, 1964 at the Green Gallery, NY.
Robert Morris, Slab, 1973 reconstruction of work shown in 1962.











The work "nearly appears not to be art." - Donald Judd
anarchy = a state of disorder due to absence or nonrecognition of authority
  • The artist's hand
  • The idea of the original
  • Notions of creation and preservation
Robert Morris, Untitled, 1964.











"Robert Morris's work is fundamentally theatrical… his theater is one of negation: negation of the avant-gardist concept of originality, negation of logic and reason, negation of the desire to assign uniform cultural meanings to diverse phenomena; negation of a worldview that distrusts the unfamiliar and the unconventional."
- Maurice Berger
Robert Morris, Untitled (Pink Felt), 1964. Felt pieces of various sizes, dimensions variable.











Robert Morris publishes Anti Form, 1968
  • Reassess assumptions underlying Minimalist art and concludes that "the construction of such objects had relied on subjective decisions and therefore resulted in icons—making them essentially no different than traditional sculpture." - Jennifer Blessing
  • Argues that sculpted form should be dictated by process, not preconceived
  • Extends Lucy Lippard's earlier recognition of a growing tendency toward "the dematerialization of the art object"



Robert Morris, Untitled, 1965/1971.











"Morris’s scattered felt strips obliquely allude to the human body through their response to gravity and epidermal quality. The ragged irregular contours of the jumbled heap refuse to conform to the strict unitary profile that is characteristic of Minimalist sculpture. This, along with its growing referentiality, led Morris’s work of the late-1960s and early 1970s to be referred to by such terms as Anti-Form, Process art, or Post-Minimalism. - Jennifer Blessing
Robert Morris, Untitled, 1970. 72 x 144 x 18 inches.











Artists have grown weary

Fiber Pile

  • Tired of consumption of Pop
  • Responding with conceptual works
  • Tired of capital value of art
  • Responding with works that couldn't be bought or owned
  • Tired of being told what to do by art critics
  • Responding by writing their own art theory
Robert Morris, Untitled, 1968.











Pink Out of a Corner
Dan Flavin, Pink Out of a Corner (To Jasper Johns), 1963.


"The real drama takes place not on the surface of the work, but rather, everywhere around it." - Bunny Smedley











Vladimir Tatlin, Monument to the Third International,
1919 - 1920. (never constructed)
Dan Flavin, Monument I For V. Tatlin, 1964.











Blue Intensity

Dan Flavin, Blue Intensity, Installation at LACMA 2007.











Carl Andre, Drawing for the Perfect Painting, 1967.










Steel Magnesium Plain

Carl Andre, Steel Magnesium Plain, 1969. 6 X 6 ft.











Carl Andre installing work

Carl Andre installing Steel Magnesium Plain, 1969.











walking on Andre











Carl Andre, Field Stone Field (Hartford Connecticut), 1977.









Serra's verb list

"To roll, to fold, to bend, to shorten, to shave, to tear, to chip, to split, to cut, to splash..."


"process art"
Richard Serra, Verb List, 1967.











Richard Serra, To Lift, 1967. Vulcanized rubber, 36" x 6' 8" x 60".












Zeus or Poseidon, Bronze, 460 – 450 BCE.

Richard Serra throwing lead at Leo Castelli warehouse, 1969.











Richard Serra, Gutter Corner Splash/Night Shift, 1969/1995.











Lynda Benglis, Corner Piece, 1969.











Lynda Benglis, pouring paint in 1969
Lynda Benglis, Contraband, 1969.











For Carl Andre

Lynda Benglis, For Carl Andre, 1970.











Corner Prop
Richard Serra, Corner Prop, 1969.











Richard Serra, One Ton Prop (House of Cards), 1969.
Richard Serra, Trip Hammer, 1988.











Richard Serra, Balanced, 1970. Hot-rolled steel 246.4 x 157.5 x 2.5 cm 97 x 62 x 1".











Richard Serra, Delineator, 1974 -75. Two Hot-Rolled Steel Plates, each 1" x 10' x 26'


Installation of Delineator at MoMA











"The memories I have of that time are images that penetrated my consciousness. The last thing I remember was that it was too late to jump, too late for the parachutes to open. That must have been a couple of seconds before hitting the ground. Luckily I was not strapped in – I always preferred free movement to safety belts… My friend was strapped in and he was atomized on impact – there was almost nothing to be found of him afterwards. But I must have shot through the windscreen as it flew back at the same speed as the plane hit the ground and that saved me, though I had bad skull and jaw injuries. Then the tail flipped over and I was completely buried in the snow. That's how the Tartars found me days later. I remember voices saying ‘Voda’ (Water), then the felt of their tents, and the dense pungent smell of cheese, fat and milk. They covered my body in fat to help it regenerate warmth, and wrapped it in felt as an insulator to keep warmth in." Joseph Beuys in Caroline Tisdall's Joseph Beuys











Joseph Beuys, Filter Fat Corner, 1963.











Joseph Beuys, The Chief- Fluxus Chant, December 1, 1964.


"Such an action, and indeed every action, changes me radically. In a way it's a death, a real action and not an interpretation." - Beuys











Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965.





















"The whole thing is a therapeutic process. For me it was a time when I realized the part the artist can play in indicating the traumas of a time and initiating a healing process." - Joseph Beuys
Joseph Beuys









Meat Joy
Carolee Schneemann, Meat Joy, 1964.