A Minimal Future?: Art as Object 1958-1968 - Tapa dura

 
9780262072519: A Minimal Future?: Art as Object 1958-1968
Tapa dura
ISBN 10: 0262072513 ISBN 13: 9780262072519
Editorial: MIT Press, 2004

Sinopsis

As a new movement that arose in the 1950s and 1960s, Minimalism challengedtraditional ideas about art-making and the art object. A Minimal Future? Art As Object 1958-1968,which accompanies a major exhibition at The Museum of Contemporary Art in Los Angeles, offers aredefinition of Minimalism by situating it in the context of the concurrent aesthetics of modernistabstraction, pop art, and nascent ideas of conceptual art. Minimalism is presented as a range ofstrategies that propelled new definitions of the structure, form, material, image, and production ofthe art object and renegotiated its relationship to space and to the spectator.Focusing on the years1958-1968, A Minimal Future? presents key works within the framework of a scholarly re-examinationof minimal art's emergence and historical context. It reflects the early transitional period thatbegins in the late 1950s, through the so-called "canonization" of Minimalism by 1968, with anemphasis on work produced in the mid-to-late 1960s.The book includes works from the late 1950sthrough the late 1960s by 40 artists, including Carl Andre, Richard Artschwager, Jo Baer, LarryBell, Mel Bochner, Judy Chicago, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Sol LeWitt,Agnes Martin, John McCracken, Robert Ryman, Frank Stella, Anne Truitt, and Lawrence Weiner thatreflect the shifting object status of painting and sculpture.The text features original essays byprominent art historians and scholars. Diedrich Diedrichsen addresses the relationship betweenminimal art and music; Jonathan Flatley focuses on Donald Judd and Andy Warhol; Timothy Martinconsiders perfomance in relation to minimal art; James Meyer examines East and West Coast practicesof Minimalism; and Anne Rorimer discusses the relationship of minimal to conceptual art. Exhibitioncurator Ann Goldstein contributes an introduction. Also included are individual entries on each ofthe artists, an extensive bibliography, and an exhibition chronology. The 400-page book includes 300images, most in color.

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Críticas

"The landmark exhibition...advertises itself as the first big American retrospective of the Minimal movement since the 1960's. Six years in the making, it's a stimulating beauty, which might even change a few minds." Michael Kimmelman New York Times

Reseña del editor

As a new movement that arose in the 1950s and 1960s, Minimalism challenged traditional ideas about art-making and the art object. A Minimal Future? Art As Object 1958-1968, which accompanies a major exhibition at The Museum of Contemporary Art in Los Angeles, offers a redefinition of Minimalism by situating it in the context of the concurrent aesthetics of modernist abstraction, pop art, and nascent ideas of conceptual art. Minimalism is presented as a range of strategies that propelled new definitions of the structure, form, material, image, and production of the art object and renegotiated its relationship to space and to the spectator.Focusing on the years 1958-1968, A Minimal Future? presents key works within the framework of a scholarly re-examination of minimal art's emergence and historical context. It reflects the early transitional period that begins in the late 1950s, through the so-called "canonization" of Minimalism by 1968, with an emphasis on work produced in the mid-to-late 1960s.The book includes works from the late 1950s through the late 1960s by 40 artists, including Carl Andre, Richard Artschwager, Jo Baer, Larry Bell, Mel Bochner, Judy Chicago, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Sol LeWitt, Agnes Martin, John McCracken, Robert Ryman, Frank Stella, Anne Truitt, and Lawrence Weiner that reflect the shifting object status of painting and sculpture. The text features original essays by prominent art historians and scholars. Diedrich Diedrichsen addresses the relationship between minimal art and music; Jonathan Flatley focuses on Donald Judd and Andy Warhol; Timothy Martin considers perfomance in relation to minimal art; James Meyer examines East and West Coast practices of Minimalism; and Anne Rorimer discusses the relationship of minimal to conceptual art. Exhibition curator Ann Goldstein contributes an introduction. Also included are individual entries on each of the artists, an extensive bibliography, and an exhibition chronology. The 400-page book includes 300 images, most in color.

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Editorial
MIT Press
Año de publicación
2004
Idioma
Inglés
ISBN 10 
0262072513
ISBN 13 
9780262072519
Encuadernación
Tapa dura
Número de páginas
452
Editor
Goldstein Ann, Mark Lisa Gabrielle
Contacto del fabricante
no disponible
Persona responsable
no disponible