Examines how the Minimalists removed illusion and habits of perception from their art, essential starting with nothing, and forced viewers to do the same. Illustrated with works ranging from small-scale sculpture to massive earthworks, the text traces the trends Minimalism succeeded and preceded.
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Baker's handsomely illustrated study confirms the beauty and diversity that can be found in even the most severely reduced forms of artistic expression. -- Art & Antiques, 5/89
Baker, art critic at the San Francisco Chronicle, is a wonderful writer, and his book shows extraordinary sensitivity and clear thinking about art whose power often remains elusive to many. And this small book is beautifully illustrated with 48 color illustrations. -- San Diego Tribune, 12/8/89
This is not just a thorough history of the movement, but an assessment of its place in recent history as well. This book is for anyone interested in art of the '60s-and not only because it is that rare commodity: lucidly written criticism. It is important, as well, because Baker strips away conventional, accumulated judgments about the work of the key Minimalist artists and offers fresh analysis of their achievements. -- The San Diego Union, 3/5/89
[A] lavishly illustrated publication entirely devoted to the subject . . . a welcome study of the history of the movement, the primary artists involved and its estimable achievements. . . . Baker is cogent, humorous and direct. . . . [He] successfully restores to Minimalism its original meaning, reconstructs the context from which the movement first asserted itself and brings it to the present day. -- San Francisco Examiner-Chronicle, 3/19/89
According to Baker, minimalist art is much more than a supercool pose: it is a spasm of revolt, and in its urge to clarify esthetic experience, it is rooted, he claims, in American pragmatism, with distant links to Shaker folk art and utopian social experiments like the Oneida and Brook Farm communities. Yet he notes that the "patent silence" of minimalist sculpture may be its chief value in a culture overwhelmed by trivial distractions. This readable, perceptive survey by the San Francisco Chronicle 's art critic takes a refreshingly undogmatic approach, amplified with 40 color and 80 black-and-white plates. In assessing Dan Flavin's emotionally charged fluorescents, Richard Serra's "prop pieces" on the verge of collapse, Bruce Nauman's deadpan satires, Sol LeWitt's intricate lattices suggestive of crystals or city plans, and works by Eva Hesse, Carl Andre, Frank Stella, Joel Shapiro et al., Baker broadens our awareness of the many unpredictable forms the minimalist impulse can take.
Copyright 1989 Reed Business Information, Inc.
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Descripción Abbeville Press, 1988. Hardcover. Estado de conservación: New. Nº de ref. de la librería P11089659887X
Descripción Abbeville Press. Hardcover. Estado de conservación: New. 089659887X New Condition. Nº de ref. de la librería NEW6.0978583
Descripción Abbeville Press, 1988. brossura. Estado de conservación: nuovo. New. Perfect. English. hardback. Index., Ill. bn: Illustrated throughout in b/w., Ill. colori: Colour illustrations, Peso: 450 gr. Nº de ref. de la librería 12538-A35
Descripción Abbeville Press, 1989. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX089659887X