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  • No unifying materials, every artist used what he felt was the most appropriate and would make people confront the object.
  • Expressionism was questioned as it is impossible to capture human emotion with paint.
  • Abstract expressionism used thick globs of paint, which Stella avoided. This slide sums up his style as an artist.
  • Uses house paint to emphasize the flatness of the canvas, you only are aware of something’s presence if it is highlighted. Makes the object define itself
  • Stretcher bars, references itself. Makes you aware of it’s presence as an object as a whole.
  • Uses aluminum which is reflective so all of the art is on the surface. Cuts out chunks that are unpainted – beginning to create shaped canvases. Art was trapped in the traditional rectangular canvas.
  • Protrude out of the wall greatly which make them appear sculptural. Done in metallic purple paint which is reflective.
  • The piece looks cheap and references Broadway, he pokes fun at religion. He tells us not to take it seriously. Icons are depictions of the holy family and everything is symbolic, which is not found here. He is suggesting that how the original icons praised God, his art praises and fills empty rooms.
  • His first piece using only fluorescent lights. Like Duchamp he blurred the line between industrial object and art. He used only 10 factory made colors in 4 different lengths.
  • “Entities should not be multiplied unnecessarily” which is exactly what Flavin does. By showing three clusters of light he implies that they continue infinitely without showing every piece. Light also has this effect as it spreads and fills spaces indefinitely.
  • Began to use what would traditionally be dead space in the gallery. He takes art off of the pedestal that most artists put their pieces on. He lets his art go in non-traditional spaces to illuminate areas that would typically not even be noticed.
  • Tatlin is a Russian artist who wanted to create a large iron tower, but it was never built. Flavin was highly interested in Tatlin’s desire to unite art and technology, which he also attempted to do. It’s also interesting to note that though it is the “monument” series the bulbs will eventually burn out.
  • These barrier-like pieces obstruct hallways and force the viewer to interact with the art as well as the architecture. They must find a way around the piece. Your eyes can go where your body can’t, he encourages perception of the light.
  • The lights themselves dictate the rate of diagonal. Self referential
  • Dialogue between the building and the site. Creates a richness of simplicity rather than emptiness. Quiz online: Judd or cheap furniture? You can see minimalist techniques in furniture
  • Minimalism

    1. 1. MINIMALISMNicole Farley & Emily Yun
    2. 2. What is Minimalism?ABC Art • Reductive Art • Literalism • Specific Objects Systematic Painting • Rejective Art • Minimal Art “As far as Minimalism goes, I don’t think itexisted as an idea at all” Sol LeWitt
    3. 3. Birth of Minimalism  Arose during the Vietnam War  Reaction against Abstract Expressionism  Rejects the colorful, vibrant, passionate, and expressiveComposition VI1913 WassilyKandinsky
    4. 4. Characteristics ofMinimalism Geometric form Barest essentials Untitled 1968 Donald Judd
    5. 5. Characteristics ofMinimalism Repetition Simplistic color palette Untitled 1965 Frank Stella
    6. 6. Characteristics ofMinimalism Hidden process Industrial materials Sol LeWitt Cubes
    7. 7. Characteristics ofMinimalism Form Meaningless Importance of theenvironment “Simplicity of shape does not necessarily equate with simplicity of experience” Robert Morris Untitled (in honor of Harold Joachim) 3 1977 Dan Flavin
    8. 8. Frank Stella 1936- Present Sculptural paintings Monochromatic colors Large canvases Flat style Stripes Repetition Emphasis on form “Art should be a presentation, not an invitation” Frank Stella
    9. 9. Frank StellaBLACK PAINTINGS  Black house paint  Stripes are the width of the paintbrush and the stretcher bars  White areas are exposed canvas  Conflicting title  Self-referentialDie Fahne Hoch! 1959
    10. 10. Frank StellaBLACK PAINTINGS Marriage of Reason and Squalor II 1959
    11. 11. Frank StellaBLACK PAINTINGS Tomlinson Court Park 1967
    12. 12. Frank StellaALUMINUM PAINTINGSAluminum Series 1960
    13. 13. Frank StellaPORTRAIT SERIES Portrait Series 1963
    14. 14. Donald Judd1928-1994 Scale and detail Space Order Installation process Specific objects“Actual space is intrinsicallymore powerful and specificthan paint on a flat surface” Donald Judd
    15. 15. Donald Judd Stacks Boxes Progression
    16. 16. Donald JuddSTACKS Untitled 1973
    17. 17. Donald JuddBOXES Untitled 1971
    18. 18. Donald JuddPROGRESSION Untitled 1970
    19. 19. Donald Judd Influenced by Dan Flavin, Frank Stella, Michael Fried, and Marcel Duchamp He had an influence on Joel Shapiro and Richard Tuttie
    20. 20. Sol LeWitt1928-2007 Simplicity Ideas/process Systematic Clarity “Complex forms only disrupt the unity of the whole” Sol LeWitt
    21. 21. Sol LeWitt Cubes Serial Project
    22. 22. Sol LeWittCUBES K 1 2 3 4 5 6 #2 1997
    23. 23. Sol LeWittSERIAL PROJECT Serial Project, I (ABCD) 1966.
    24. 24. Sol LeWitt Influenced by Josef Albers, Jasper Johns, and Samuel Beckett He had an influence on Frank Stella, Eva Hesse, Steve Reich, and Dan Flavin
    25. 25. Dan1933-1996 Flavin Used light  Incandescent  fluorescent Adaptable art Repetition Interacts with architecture "One might not think of light as amatter of fact, but I do. And it is, as Isaid, as plain and open and direct an art as you will ever find.“ Dan Flavin
    26. 26. Dan FlavinICON SERIES  “Icon” refers to Byzantine religious pieces  Elements of painting and sculpture “My icons do not raise up the blessed savior in elaborate cathedrals, they are constructed concentrations celebrating barren rooms. They bring limited light” Dan Flavinicon V (Coran’s Broadway Flesh) 1961
    27. 27. Dan Flavin “Restricting hismaterials was not a limitation, but an enabler; he exploited subtle differences and founddepth, meaning, an d beauty in whatothers overlooked” Lynn Matheny Diagonal of May 25, 1963 (to Constantin Brancusi) 1963
    28. 28. Dan FlavinNominal Three (to William of Ockham) 1963
    29. 29. Dan Flavinpink out of a corner (to Jasper Johns) 1963
    30. 30. Dan FlavinMONUMENT SERIES “monument” 1 for V. Tatlin 1964
    31. 31. Dan Flavin untitled (to you, Heiner, with admiration and affection) 1973
    32. 32. Dan Flavinuntitled (to my dear bitch, Airily) 2 1984
    33. 33. Criticism “Art is too simple” “Art is too cold” “There is nothing to comment on” “No skill” “No talented required”
    34. 34. End of Minimalism Minimalism trapped itself; there are only so many ways to simplify something Artists began to move away from creating strict Minimalist objects Conceptual art took over as art could exist as solely an idea “Minimalism wasn’t a real idea—it ended before it started” Sol LeWitt
    35. 35. Post-Minimalism  Collection of reactions against Minimalism  Maintained minimal form  Included expressive qualities  More relaxedEva HesseAscension II 1968
    36. 36. Minimalism Today Post-Minimalism Architecture Furniture Lifestyle John Pawson