Minimalism in visual art, generally referred
to as "minimal art", literalist art and ABC Art emerged in New York in the early 1960s. Initially minimal art appeared in New York
in the 60s as new and older artists moved toward geometric abstraction;
exploring via painting in the cases of Frank Stella, Kenneth Noland, Al Held,
Ellsworth Kelly, Robert Ryman and others; and sculpture in the works of various
artists including David Smith, Anthony Caro, Tony Smith, Sol LeWitt, Carl
Andre, Dan Flavin, Donald Judd and others. Judd's sculpture was showcased in
1964 at the Green Gallery in Manhattan as were Flavin's first fluorescent light
works, while other leading Manhattangalleries like the Leo Castelli Gallery and the Pace
Gallery also began to showcase artists focused on geometric abstraction. In
addition there were two seminal and influential museum exhibitions: Primary
Structures: Younger American and British Sculpture' shown from April 27 - June
12, 1966 at the Jewish Museum in New York, organized by the museum's Curator of
Painting and Sculpture, Kynaston McShine and Systemic Painting, at the
Solomon R. Guggenheim Museum curated by Lawrence Alloway also in 1966 that
showcased Geometric abstraction in the American art world via Shaped canvas,
Color Field, and Hard-edge painting.In the wake of those exhibitions and a few
others the art movement called minimal art emerged.
In a more broad and general sense, one finds
European roots of minimalism in the geometric abstractions of painters
associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian
and other artists associated with the De Stijl movement, and the Russian
Constructivist movement, and in the work of the Romanian sculptor Constantin
Brâncuși. Minimal art is also inspired in part by the
paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of
artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and
others. Minimalism was also a reaction against the painterly subjectivity of
Abstract Expressionism that had been dominant in the New York School during
the 1940s and 1950s.
Artist and critic Thomas Lawson noted in his
1977 catalog essay Last Exit: Painting, minimalism did not reject Clement
Greenberg's claims about modernist painting's reduction to surface and
materials so much as take his claims literally. According to Lawson minimalism
was the result, even though the term "minimalism" was not generally
embraced by the artists associated with it, and many practitioners of art
designated minimalist by critics did not identify it as a movement as such.One
of the first artists specifically associated with minimalism was the painter,
Frank Stella, whose early "pinstripe" paintings were included in the
1959 show, 16 Americans, organized by Dorothy Miller at the Museum of Modern
Art in New York. The width of the stripes in Frank Stellas's pinstripe
paintings were determined by the dimensions of the lumber used for stretchers,
visible as the depth of the painting when viewed from the side, used to
construct the supportive chassis upon which the canvas was stretched. The decisions
about structures on the front surface of the canvas were therefore not entirely
subjective, but pre-conditioned by a "given" feature of the physical
construction of the support. In the show catalog, Carl Andre noted, "Art
excludes the unnecessary. Frank Stella has found it necessary to paint stripes.
There is nothing else in his painting." These reductive works were in
sharp contrast to the energy-filled and apparently highly subjective and
emotionally-charged paintings of Willem de Kooning or Franz Kline and, in terms
of precedent among the previous generation of abstract expressionists, leaned
more toward the less gestural, often somber, color field paintings of Barnett
Newman and Mark Rothko.
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