April 3
Minimalism
James Rosenquist
1933 -
James Rosenquist. I Love You
with My Ford. 1961. 82" X 93".
Lobel,
Michael. "Sign Language." Artforum. October 2003: 127.
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"We
are attacked by radio and television and visual communications…at
such a speed and with such a force that painting…now seems very
old-fashioned…why shouldn't it be done with that power and gusto
[of advertising], with that impact." - James Rosenquist
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James Rosenquist. F-111. 1965. 10' X 86'
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James Rosenquist.
F-111. 1965. 10' X 86'
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West Coast
Pop
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California
Fumk movement
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" California
Funk movement defined by Berkeley's University Art Museum Director Peter
Selz as being "hot rather than cool, committed rather than disengaged,
bizarre rather than formal, sensuous and frequently quite ugly."
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Ed Kienholz
1927 - 1994
Ed Kienholz. Roxy's. 1961 - 2.
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Installation
art = art that uses sculptural materials and other media to modify a
particular space. It is not necessarily confined to a gallery or museum
space and often incorporates the viewer into the work.
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Ed Kienholz. The Illegal Operation. 1962.
Ed Kienholz. The Wait. 1964 - 5.
Ed Kienholz. The State Hospital
tableau. 1966.
Upshaw, Reagan. "Scavenger's Parade."
Art in America. October 1996: 98 -107.
Ed Kienholz. The State Hospital
(exterior). 1966.
Upshaw, Reagan. "Scavenger's Parade."
Art in America. October 1996: 98 -107.
Ed Kienholz. The State Hospital
(interior). 1966.
Upshaw, Reagan. "Scavenger's Parade."
Art in America. October 1996: 98 -107.
1966 Kienholz has first retrospective at the Los Angeles County Museum of Art
Ed Kienholz. Back Seat dodge '38. 1964.
Robert Arneson
1930 - 1992
Robert Arneson. John with Art. 1964.
"I really thought about the ultimate ceramics in western culture, so I made a toilet." - Robert Arneson
Robert Arneson. Typewriter. 1966.
Robert Arneson. The artist in his studio. 1978.
Robert Arneson. California Artist. 1982.
Robert Arneson. George Muscone.
1981.
Lazzari, Margaret and Dona Schlesier. Exploring
Art: A Global, Thematic Approach. Second edition. Australia: Thomson Wadsworth,
2005.
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Post-painterly
Abstraction = Greenberg's notion that art was involved in a forward
progression to a point of "purity." Pure art lacked subject
matter, connection with the art maker, and the artist's hand.
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Frank Stella
1936 -
Frank Stella. The Marriage of Reason and Squalor. 1959.
Frank Stella. New Madrid.
1961.
Lucie-Smith, Edward. Movements in Art Since
1945. New York: Thames & Hudson, 2001.
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Hard-edge
= style of painting in which paint application is intentionally impersonal
and is comprised of particularly sharp delineated areas of color
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Frank Stella. Lake City. 1962.
Frank Stella. Valparaiso Flesh
and Green. 1963.
Getlein, Mark. Gilbert's Living with Art.
Sixth ed. Boston:McGraw Hill, 2002.
Minimalism
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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." Barbara Rose in a 1965 essay on ABC
Art
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"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
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"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
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Characteristics
of Minimalist Sculpture:
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Impersonal
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Regular,
geometric forms
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Repetition
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Often used
industrial, commercially available materials
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Process
and materials were emphasized rather than disguised
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As literal
and as objective as possible
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No
illusion (anti-illusion), no illustration, no decoration
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Donald Judd. Untitled. 1967.
Tony Smith. Die. 1962. 6 X 6 X 6 ft.
Carl Andre. Steel Magnesium Plain. 1969. 6 X 6 ft.
Dan Flavin. Untitled. 1963.
Robert Morris. Untitled. 1968.
Robert Morris. Untitled. 1967-8.
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"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
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Bruce Nauman. Self Portrait as a Fountain. 1966-7.
Eva Hesse
1936 - 1970
Eva Hesse. Hang Up. 1965-1966.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Eva Hesse. Untitled (Rope Piece).
1966.
Stokstad, Marilyn. Art History. Revised
Second ed. Vol. 2. New York: Prentice Hall Inc., and Harry N. Abrams, 2005.
Jackson Pollock.
Autumn Rhythm (Number 30). 1950.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005.
Eva Hesse. Accession III.
1967.
Grosenick,
Uta ed. Women Artists in the 20th and 21st Century. Taschen, Koln.
2005.
Richard Serra
1939 -
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"The
significance of the work is in its effort not in its intentions. And
that effort is a state of mind, an activity, an interaction with the
world." - Richard Serra
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Richard Serra. Throwing lead at Leo Castelli warehouse. 1969.
Richard Serra. Splashing. 1968.
Richard Serra. Corner Prop. 1969.
Richard Serra. Tilted Arc. 1981.
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"The
viewer becomes aware of himself and of his movement through the plaza.
As he moves, the sculpture changes. Contraction and expansion of the
sculpture result from the viewer's movement. Step by step the perception
not only of the sculpture but of the entire environment changes."
- Richard Serra
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