Anti Form
 
"The world is full of objects, more or less interesting: I do not wish to add any more." - Douglas Huebler

 

 
Douglas Huebler, Variable Piece #44, 1971.
 

 

 

 

 

 

 

 

 

 

 

1965 Barbara Rose essay on ABC Art discussed the recent emergence of "an art whose blank, neutral, mechanical impersonality contrasts so violently with the romantic, biographical abstract expressionist style which preceded it that spectators are chilled by its apparent lack of feeling or content."  "...if Pop Art is the reflection of our environment, perhaps the art I have been describing is its antidote, even if it is a hard one to swallow."

Untitled

Donald Judd, Untitled, 1968.

 

 

 

 

 

 

 

 

 

 

Inspired by Ad Reinhardt's declaration, 12 Rules for a New Academy
"No texture, no brushwork, no drawing, no forms, no design, no color, no light, no space, no time, no size or scale, no movement and finally no object." - Ad Reinhardt
 
 
Ad Reinhardt, Abstract Painting no. 4, 1961.
 

 

 

 

 

 

 

 

 

 

 

''I had to leave out a lot of things that one expects to see in a painting,'' Martin has said of this work. ''I was painting about happiness and bliss and they are very simple states of mind I guess. Morning is a wonderful dawn, soft and fresh.'' She began making delicate hand-drawn grids in 1960. This painting is based on a rectangular system of co-ordinates, but the total effect is like an atmospheric veil." - Agnes Martin
Agnes Martin, Morning, 1965.

 

 

 

 

 

 

 

 

 

Agnes Martin, Friendship, 1963.

 

 

 

 

 

 

 

 

 

Untitled

Characteristics of Minimalist Sculpture:
  • Serial repetition of geometric forms
  • Manufactured
  • Industrial, commercially available materials
  • Focus on the material rather than metaphor
 
 
 
Donald Judd, Untitled, 1967.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Viewer:
"Why didn't you make it larger so that it would loom over the observer?"
Die
Smith:
"I was not making a monument."
Viewer
"Then why didn't you make it smaller so that the observer could see over the top?"
Smith:
"I was not making an object."
 
literalism = fidelity to observable fact
Tony Smith, Die, 1962. 6 X 6 X 6 ft.

 

 

 

 

 

 

 

 

 

 

Frank Stella, Lake City, 1961.

Critical Rebuttals
1967 Greenberg attacks Minimal sculpture in "Recentness of Sculpture"
  • Felt that Minimalist painting followed his formalist rules too literally
  • Compares Minimalist aesthetic to good design
 
In Art and Objecthood Michael Fried admonished the Minimalists for going too far, making objects so literal they directed the viewer to external relationships, which Fried called "theatrical"
 
"Because Post-Painterly abstraction seemed to bring the possibilities offered by pure painting to a kind of conclusion, artists who wished to find their way forward were for a while inclined to abandon the idea of the painted canvas as a vehicle for what they wanted to do or say. This resulted in a great swing of attention towards sculpture, and also in an increasing number of experiments with mixed media." - Edward Lucie-Smith

 

 

 

 

 

 

 

 

 

 

"When I was teaching at Cooper Union in the first year or two of the fifites, someone told me how I could get onto the unfinished New Jersey Turnpike. I took three students and drove from somewhere in the Meadows to New Brunswick. It was a dark night and there were no lights or shoulder markers, lines, railings or anything at all except the dark pavement moving through the landscape of the flats, rimmed by hills in the distance, but punctuated by stacks towers, fumes, and colored lights. This drive was a revealing experience. The road and much of the landscape was artificial, and yet it couldn’t be called a work of art. On the other hand, it did something for me that art had never done. At first I didn’t know what it was, but its effect was to liberate me from many of the views I had had about art. It seemed that there had been a reality there that had not had any expression in art.

The experience of the road was something mapped out but not socially recognized. I thought to myself, it ought to be clear that’s the end of art. Most painting looks pretty pictorial after that. There is no way you can frame it, you just have to experience it."

–Tony Smith (quoted from Michael Fried’s “Art and Objecthood,” 1967)

Tony Smith, Free Ride, 1962.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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.

 

 

 

 

 

 

 

 

 

Conceptualism

One and Three Chairs

Joseph Kosuth, One and Three Chairs, 1965.

mid 1960s - present
 

Conceptualism = holds that the idea is the work of art. Any painting, sculpture, drawing, print, photograph or building created in response to that idea is simply a piece of documentation, a record of aesthetic expression as opposed to aesthettic espression itself.

Conceptual art is "made to engage the mind of the viewer rather than his eye or emotions." - Sol Le Witt

 

 

 

 

 

 

 

 

 

 

Plato's concept of "The Forms"

One and Three Hammers

The material world as it seems is not the "real" world, but a shadow of it
 
How do we know what is real?
What is "reality?"
 
art is to represent
art is re-presentation
 
Joseph Kosuth, One and Three Hammers, 1965.

 

 

 

 

 

 

 

 

 

 

 

Art and Culture
Art and Culture
John Latham, Text from Art & Culture, 1966.
John Latham, Art & Culture, 1966.

 

 

 

 

 

 

 

 

 

 

Carl Andre, Drawing for the Perfect Painting, 1967.

 

 

 

 

 

 

 

 

 

 

Sol Lewitt: A Wall Drawing Retrospective at Mass MoCA

 

 

 

 

 

 

 

 

 

 

MOCA wall drawing MOCA wall drawing

 

 

 

 

 

 

 

 

 

 

Sol Lewitt, Wall Drawing #41, 1970.

 

 

 

 

 

 

 

 

 

 

Light to Dark Scribbles
Dark to Light Scribbles
Sol LeWitt, Wall Drawing #1166 Light to dark (scribbles) and #1167 Dark to Light (scribbles), July 2005.

 

 

 

 

 

 

 

 

 

 

"LeWitt challenged some very fundamental beliefs about art, including the authority of the artist in the production of a work. His emphasis is most often on process and materials (or the lack thereof in the case of the latter) rather than on imbuing a work with a specific message or narrative. Art, for LeWitt, could exist for its own sake. Meaning was not a requirement."
"A conceptual piece, this work was produced shortly following the publication of LeWitt's 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, 'The execution is a perfunctory affair. The idea becomes a machine that makes the art,' '...LeWitt disengages himself from the work and takes a strong 'death of the author'" stance. - The Art Story
Sol Lewitt, Cube Containing Object of Significance But Very Little Value, 1968

 

 

 

 

 

 

 

 

 

 

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
Untitled
 
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
Untitled
  • 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.

 

 

 

 

 

 

 

 

 

 

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.