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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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A Minimal Future?: Art as Object 1958--1968
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The MIT Press, 2004
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ISBN 13: 9780262072519
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A Minimal Future?: Art As Object 1958-1968
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A Minimal Future? : Art as Object, 1958-1968
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A Minimal Future?: Art as Object 1958-1968
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ISBN 13: 9780262072519
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Hardcover. Condición: New. Estado de la sobrecubierta: Near Fine. 4to (28 cm), 452 pp. Publisher's cloth and dj. From the blurb: 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. Nº de ref. del artículo: 005091
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Minimal Future?: Art as Object 1958--1968
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The Museum of Contemporary Art, Los Angeles, 2004
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ISBN 13: 9780262072519
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Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good. First Edition. A Near Fine copy of the First Edition; dust jacket Very Good with mild shelfwear and a bit of scuffing. // '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 canonisation of Minimalism by 1968, with an emphasis on work produced in the mid-to-late 1960s. 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 performance 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 colour.' -- publisher. Nº de ref. del artículo: 640169
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A Minimal Future?: Art as Object 1958-1968
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The MIT Press The Museum of Contemporary Art, Cambridge, Massachusetts; Los Angeles, 2004
ISBN 10: 0262072513
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A Minimal Future? Art as Object 1958-1968
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A Minimal Future? Art As Object 1958-1968
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ISBN 13: 9780262072519
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A Minimal Future?: Art as Object 1958--1968
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A Minimal Future?: Art as Object 1958-1968
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