minimalist art, some thoughts
DESCRIPTION
some histories of minimalist art.TRANSCRIPT
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Lecture 2Minimalism
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MLK in Tennessee with Hosea Williams, Jesse Jackson, and Ralph Abernathy, Lorraine Motel, April 1968
March on Washington 1963
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Paris 1968 riots
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students and police at Berkeley protests, 1965
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Joseph Albers . Homage to the Square: Apparition .1959 Kasimir Malevich. White on White, 1918.
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Ellsworth Kelly: Window, Museum of Modern Art, Paris, oil on wood and canvas, two joined panels,, 1949
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Ellsworth Kelly: Painting for a White Wall, oil on canvas, five joined panels,1952
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Ellsworth Kelly: Red Curve I, oil on canvas, 1972
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Ellsworth Kelly, Red Blue Green(1963)
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Kenneth, Noland. Cantabile, 1961. Noland, Kenneth. Inner Way, 1961.
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Kenneth Noland: Grave Light, 1965
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Kenneth Noland. Drive, 1964.
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Noland. Bridge, 1964.
Noland. Band Sinister, 1964
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Noland. Trans West, 1965.
Piet Mondrian. Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, c. 1924/1925, oil on canvas on hardboard, diamond
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Stella, Frank. New Madrid, 1961. Frank Stella: Six Mile Bottom, metallic paint on canvas, 1960
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Frank Stella, Union I, from the Irregular polygon series 1966; fluorescent alkyd and epoxy paints on canvas;
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Agnes Martin: The Tree, oil and pencil on canvas, 1964
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Agnes Martin: Morning, acrylic and pencil on canvas, 1965
``Minimalism derives its name from the minimum of operating means. Minimalist painting is purely realistic- the subject being the painting itself.`` David Burlyuk in the catalogue for John Graham`s exhibition in 1929.
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Anthony Caro: Early One Morning, painted steel and aluminium, 1962
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David Smith: Cubi xix, stainless steel, 1964
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Dan Flavin. Monument’ for V. Tatlin, mixed media, 1966–9
Dan Flavin, “eight ‘monuments’ for V. Tatlin,” black ballpoint ink on white paper, 1966-9.
Tatlin’s monument 1919.
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Dan Flavin: Untitled, installation, florescent light, 1996.
Dan Flavin, “untitled (in honor of Harold Joachim) 3,” pink, yellow, blue, and green fluorescent light, 1977.
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Donald Judd: Untitled, galvanized iron and lacquer, twelve units, each 1016×229×787 mm with 229 mm intervals, 1967
Judd. Untitled [Six boxes] 1974. Sculpture, brass- 6 units
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“Although Judd was of course a legendary minimalist artist, he always had the DNA of a designer and builder as well. His boxy sculptures are always seamless, hiding all traces of their construction. They are perfect aesthetic compositions in a way that architecture can’t be because of its exponentially greater practical, functional concerns – and all the more compelling as a result. Judd’s work is for designers and design enthusiasts a kind of minimalist Platonic ideal.”
Untitled (1980-84), Chinati Foundation, Marfa
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Donald Judd. Untitled. St. Louis, Missouri, Installed 1985.
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Donald Judd, 100 untitled works in mill aluminum (detail), 1982–86, aluminum. Installation view, Chinati Foundation, Marfa, TX.
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https://www.youtube.com/watch?v=Pgelc5BVQrk
Robert Hughes visiting Donald Judd’s Marfa Complex
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Robert Morris. Metered Bulb. (1962-1963) pull chain, and electricity meter mounted on painted wood 17.7 x 8 x 8.25 in.
Marcel Duchamp. 50cc of Paris Air. 1919.
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Robert Morris and Carolee Schneemann. Site (1963)
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Robert Morris, Untitled (Threadwaste), Castelli Gallery 1968.
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Robert Morris, Untitled (Cock/Cunt), Rulers hinged together, mounted on wood base, 14 x 42.2 x 3.8 cm, 1974
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Robert Morris: Untitled (Tangle), felt, each strip 25 mm thick, dimensions variable, museum installation 2.95×2.69×1.47 m, 1967
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Carl Andre. Equivalent VIII, 1966. Building bricks.
Tony Smith: Die, steel, 1.83×1.83×1.83 m, 1962.
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Sol LeWitt: Two Open Modular Cubes/Half-Off, enamelled aluminum, 1972
``deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. The arrangement becomes the end while the form becomes the means.``
- LeWitt, 1967
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Sol Lewitt. Wall Drawing 273, Lines to Points on a Grid (1975)
Sol Lewitt. Lines from the midoints of lines 1975 , etching
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Dan Flavinthe diagonal of May 25, 1963 (to Constantin Brancusi)1963
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Andre, Carl137 firebricks11.4 x 22.5 x 883.9 cm installed; brick: 11.4 x 22.5 x 6.4 cm each, 1966
Brancusi. The Endless Column in Târgu Jiu, Romania, 1938. Restored in 2000.
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Frank Stella Die Fahne Hoch 1959
Richard Serra
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Robert Morris installation Green Gallery New York, 1964. Seven plywood structures painted grey.
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Tony Smith. Die, 1962. Steel, 72x72x72
“This is a complicated piece, it has too many references to be coped with coherently” Tony Smith about Die in an interview.
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Albert Speer. Sudbahnhof (South train station) Berlin
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Le Corbusier. Villa Savoye, France 1931.
Ludwig Mies van der Rohe and John B. Parkin and Associates and Bregman + Hamann. Three of the Toronto-Dominion Centre's five towers (left to right): the Ernst & Young Tower, the Toronto-Dominion Bank Tower, and the Royal Trust Tower. 1969.
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Walter de Maria. Death Wall, Stainless steel, 11.4 x 54 x 2.5 cm, 1965.