Minimalism: Art and Polemics in the Sixties

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Yale University Press, 2001 - Art - 340 pages
3 Reviews
The simple question “What is minimalism?” has defied simple answers. Artists known as minimalists have distinctively different methods and points of view. This highly readable history of minimalist art shows how artists as diverse as Carl Andre, Donald Judd, Robert Morris, and Anne Truitt came to be designated as minimalists during a series of exhibitions in the 1960s.
“I can think of no book that even undertakes a comparable art historical account—not merely tracing a movement year by year, but showing how the movement’s consciousness of itself emerged.”—Arthur Danto, Times Literary Supplement
“Many skeptics deem the sixties too close for comfort and hence not suitable for an art history in the grand tradition. James Meyer proves them wrong. Minimalism: Art and Polemics in the Sixties establishes a historical precision and seriousness that many have thought lacking in the recent wave of writing about postwar American art.”—Christine Mehring, Art Journal
“By far the best account to date of Minimalism’s development and the essential point of departure for all future research on the subject.”—Pepe Karmel, Art in America
 

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Contents

a tour of Primary Structures
19591962
31
the early years
33
1963
43
the emergence of Judd and Morris
45
Truitt at Andre Emmerich
63
1964
75
Black White and Gray
77
Morriss Notes on Sculpture
153
Judd at Castelli Systemic Painting and the Finch shows
167
seriality as negation
184
Andres brick show
189
displacement into conceptualism
200
1967
209
minimalism and Good Design
211
minimalism and gender
222

Everymans Infinite Art Di Suveros attack
82
Flavin Judd and Stella interviewed
87
enter Flavin Eleven Artists
95
8 Young Artists
109
Morriss plywood show
113
1965
117
1965 the fight for Stellas soul
119
sculptureasplace
129
Specific Objects
134
popularization of the minimal
142
1966
151
Art and Objecthood
229
1968
245
Judds Whitney show and Battcocks anthology
247
USA 19481968 and the reception abroad
253
Minimal Art Anti Form and the social critique of minimalism
262
notes
271
bibliography
317
photograph and copyright credits
327
index
328
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About the author (2001)

James Meyer is associate professor of art history at Emory University.

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