1. Post
Minimalism
and
Process
Art
Art
109A:
Art
since
1945
Westchester
Community
College
Fall
2012
Dr.
Melissa
Hall

2. The
1960s
Race
riots
PoliCcal
assassinaCons
AnC-­‐war
movement
An
anC-­‐war
demonstrator
burns
his
draO
card
at
a
Vietnam
War
protest
outside
the
Pentagon
in
Race
riots
in
the
WaGs
secCon
of
Los
Angeles,
August
11-­‐15,
1965
October
1967.(Photo
by
Wally
McNamee
via
hGp://www.liu.edu/cwis/cwp/library/african/2000/1960.htm
Corbis)

3. The
1960s
Minimalists
remain
aloof
from
poliCcs
“ArCsts
should
poliCcize
themselves
as
ciCzens,
demonstraCng
and
protesCng
when
necessary,
but
art
should
be
free
of
poliCcal
responsibility.
.
.
“
Donald
Judd,
Ar*orum,
1970
Donald
Judd,
Un#tled,
1969
Hirshhorn
Museum

4. The
1960s
Minimalism
and
Pop:
 Impersonality
(reacCon
against
Ab
Ex
“boring
display
of
emoCon”)
 Serial
repeCCon
(echoing
modern
forms
of
mass
producCon)
 Industrial
materials
and
methods
(screenprinCng;
skillsaws;
rolled
steel)

5. The
1960s
Anna
Chave
argues
that
Minimalism
internalized
the
impersonal
values
of
American
corporate
power
Art
Historian
Anna
Chave,
at
a
Rutgers
University
symposium,
2007
Image
source:
hGp://arthistory.rutgers.edu/events/newsleGer/2008/fword.php

6. "By
manufacturing
objects
with
common
industrial
and
commercial
materials
in
a
restricted
vocabulary
of
geometric
shapes,
Judd
and
the
other
Minimalist
arCsts
availed
themselves
of
the
cultural
authority
of
the
makers
of
industry
and
technology”
Anna
Chave,
“ The
Rhetoric
of
Power”
Mies
van
der
Rohe,
IBM
Building,
Chicago
1969-­‐71

7. "The
Minimalist's
domineering,
someCmes
brutal
rhetoric
was
breached
in
this
country
in
the
1960's,
a
decade
of
brutal
displays
of
power
by
both
the
American
military
in
Vietnam,
and
the
police
at
home
in
the
streets
and
on
University
campuses
across
the
country.
Corporate
power
burgeoned
in
the
U.S.
in
the
1960's
too,
with
the
rise
of
'mulCnaConals',
due
in
part
to
the
flourishing
of
the
military-­‐industrial
complex.”
Anna
Chave,
“ The
Rhetoric
of
Power”

8. The
1960s
The
1960s
counter
culture
revolted
against
the
values
of
the
“establishment”
An
anC-­‐war
demonstrator
burns
his
draO
card
at
a
Vietnam
War
protest
outside
the
Pentagon
in
October
1967.(Photo
by
Wally
McNamee
via
Corbis)
hGp://www.utwatch.org/archives/disorientut2005/military.html

9. The
1960s
It
rebelled
against
“progress”
and
the
corporate
ideology
of
the
“military-­‐
industrial”
complex
General
Dynamics,
Fort
Worth
Texas,
1969
hGp://www.f-­‐111.net/RAAF-­‐F-­‐111s-­‐off-­‐the-­‐producCon-­‐line-­‐1.htm

10. The
1960s
To
many
younger
arCsts,
Minimalism
was
now
synonymous
with
the
blank
visage
of
corporate
power
and
insCtuConal
authority
Mies
van
der
Rohe,
IBM
Building,
Chicago
1969-­‐71
Ronald
Bladen,
The
Cathedral
Evening,
1972
Empire
State
Plaze,
Albany

11. Minimalism
and
the1960s
Counter
Culture
"Presently
we
need
more
than
silent
cubes,
blank
canvases,
and
gleaming
white
walls
.
.
.
."
John
Perrault
Donald
Judd,
100
un#tled
works
in
mill
aluminum,
1982-­‐1986
Pulitzer
prize
winning
photograph
of
Kent
State
Massacre
by
Paul
Filo
ChinaC
FoundaCon

12. The
1960s
We
are
sick
to
death
of
cold
plazas
and
monotonous
'curtain
wall'
skyscrapers
.
.
.
.”
John
Perrault
Mies
van
der
Rohe,
Seagrams
Building,
NYC
1958

13. Post
Minimalism
Post
Minimalism
was
a
reacCon
against
the
authoritarian
codes
of
minimalism
Post
Minimalism
Coined
by
the
art
historian
and
criCc
Robert
Pincus-­‐
WiGen,
Post-­‐Minimalism
refers
to
a
general
reacCon
by
arCsts
in
America
beginning
in
the
late
1960s
against
Minimalism
and
its
insistence
on
closed,
geometric
forms.
These
dissenCng
arCsts
eschewed
the
impersonal
object
for
more
open
forms.
Rather
than
adhere
to
pure
formalism,
Post-­‐
Minimalist
arCsts
oOen
made
explicit
the
psychical
and
physical
processes
involved
in
the
actualizaCon
of
art
and
oOen
reflected
personal
and
social
concerns
in
their
works.
hGp://www.guggenheim.org/new-­‐york/collecCons/collecCon-­‐online/show-­‐full/
movement/?search=Post-­‐Minimalism

14. Post
Minimalism
OOen
called
“Process
Art,”
Post
Process
Art
Minimalism
was
characterized
by
a
Process
art
emphasizes
the
“process”
of
making
art
concern
with
process
and
materials
(rather
than
any
predetermined
composiCon
or
plan)
and
the
concepts
of
change
and
transience
.
.
.
[This]
interest
in
process
.
.
.
has
precedents
in
the
Abstract
Expressionists’
use
of
unconvenConal
methods
such
as
dripping
and
staining
.
.
.
Process
arCsts
were
involved
in
issues
aGendant
to
the
body,
random
occurrences,
improvisaCon,
and
the
liberaCng
qualiCes
of
nontradiConal
materials
such
as
wax,
felt,
and
latex.
Using
these,
they
created
eccentric
forms
in
erraCc
or
irregular
arrangements
produced
by
acCons
such
as
curng,
hanging,
and
dropping,
or
organic
processes
such
as
growth,
condensaCon,
freezing,
or
decomposiCon.
hGp://www.guggenheim.org/new-­‐york/collecCons/collecCon-­‐online/show-­‐full/
movement/?search=Process%20art

15. An6-­‐Form
In
1968
Morris
published
an
arCcle
in
Ar*orum
Ctled
“AnC-­‐Form”
in
which
he
challenged
the
dominance
of
geometric
regularity
as
an
aestheCc
orthodoxy
“A
morphology
of
geometric,
predominantly
rectangular
forms
has
been
accepted
as
a
given
premise”
Robert
Morris,
“AnC-­‐Form,”
Ar*orum,
1968
Robert
Morris,
Two
Columns,
1961

16. An6-­‐Form
He
argued
that
Minimalism
is
“authoritarian”
because
it
imposes
order
on
materials
“The
process
of
"making
itself"
has
hardly
been
examined.”
Robert
Morris,
“AnC-­‐Form,”
Ar*orum,
1968
Donald
Judd,
Un#tled,
1967

17. An6-­‐Form
Even
a
simple
box
is
sCll
a
“depicCon”
of
a
preconceived
idea
of
geometric
regularity
“Art
of
the
60s
was
an
art
of
depicCng
images.
But
depicCon
as
a
mode
seems
primiCve
because
it
involves
implicitly
asserCng
forms
as
being
prior
to
substances.”
Robert
Morris,
“Notes
on
Sculpture
4:
Beyond
Objects,”
Ar*orum
April
1969
Donald
Judd,
Un#tled,
1968
Walker
Art
Center

18. An6-­‐Form
Morris
proposed
that
the
“next
step”
was
to
replace
pre-­‐concepCon
with
process,
ciCng
Jackson
Pollock
and
Morris
Louis
as
precedents
“It
remained
for
Pollock
and
Louis
to
go
beyond
the
personalism
of
the
hand
to
the
more
direct
revelaCon
of
maGer
itself.”
Robert
Morris,
“AnC-­‐Form,”
Ar*orum
1968
Hans
Namuth,
Pollock
working
in
his
studio,
1951

19. An6-­‐Form
Process
would
enable
the
material
itself
to
become
the
“author”
of
the
work
“The
focus
on
maGer
and
gravity
as
means
results
in
forms
which
were
not
projected
in
advance
.
.
.
Random
piling,
loose
stacking,
hanging,
give
passing
form
to
the
material.
Chance
is
accepted
and
indeterminacy
is
implied
.
.
.
.”
Robert
Morris,
“AnC-­‐Form,”
Ar*orum
1968
Ernst
Haas,
Helen
Frankenthaler
at
work
in
her
studio,
1969
Image
source:
hGp://www.ernst-­‐haas.com/celebrity_frankenthalerHelen1.html

20. An6-­‐Form
In
the
late
1960's,
Morris
began
working
with
malleable
materials
such
as
felt
Robert
Morris,
Un#tled,
1969
MOMA

21. An6-­‐Form
Geometry
and
regularity
are
used,
but
the
piece
“happens”
when
the
arCst
allows
the
material
to
assert
its
own
idenCty
Robert
Morris,
Un#tled,
1969
MOMA

22. An6-­‐Form
The
art
that
[Robert
Morris]
and
others
began
to
explore
at
the
end
of
the
1960s
stressed
the
unusual
materials
they
employed—industrial
components
such
as
wire,
rubber,
and
felt—and
their
response
to
simple
acCons
such
as
curng
and
dropping.
Un#tled
(Pink
Felt)
(1970),
for
example,
is
composed
of
dozens
of
sliced
pink
industrial
felt
pieces
that
have
been
dropped
unceremoniously
on
the
floor.
Morris’s
scaGered
felt
strips
obliquely
allude
to
the
human
body
through
their
response
to
gravity
and
epidermal
quality.
The
ragged
irregular
contours
of
the
jumbled
heap
refuse
to
conform
to
the
strict
unitary
profile
that
is
characterisCc
of
Minimalist
sculpture.
Robert
Morris,
Un#tled
(Pink
Felt),
1970
Guggenheim
Museum
Guggenheim

23. An6-­‐Form
Morris
was
envisioning
an
art
that
does
not
rely
on
pre-­‐concep#on
(where
preconcepCon
is
associated
with
“authority”
and
“control”)
He
was
proposing
a
kind
of
“authorless”
art
in
which
the
materials
themselves,
and
the
real
condi#ons
in
which
they
exist,
form
the
work
Robert
Morris,
Un#tled
(Pink
Felt),
1970
Guggenheim

24. An6-­‐Form
Richard
Serra
was
also
re-­‐
conceptualizing
sculpture
in
terms
of
process
and
materials
Richard
Serra,
photo
Steve
Pyke
Image
source:
hGp://www.flowerseast.com/Originals_ExhibiCons.asp?ExhibiCon=07FNYSP&OE=1

25. An6-­‐Form
In
1967-­‐68
Serra
compiled
a
list
of
transiCve
verbs
that
became
the
basis
for
his
sculptural
work
Richard
Serra,
Verb
List,
1967-­‐68

26. An6-­‐Form
The
list
describes
processes
that
derive
from
the
“acCon”
concept
of
Abstract
Expressionism
–
but
“acCon”
minus
the
emoCon

27. An6-­‐Form
Serra’s
work
became
an
invesCgaCon
of
what
happens
when
a
parCcular
process
(such
as
rolling,
creasing,
folding)
encounters
the
specific
properCes
of
a
material
Richard
Serra,
Verb
List,
1967-­‐68

28. An6-­‐Form
In
this
work,
the
arCst
applied
the
verb
“to
liO”
to
a
sheet
of
vulcanized
rubber
Richard
Serra,
To
LiO,
1967.
Vulcanized
rubber.
36”
x
6’8”
x
60
(91.4×200
×
152.4
cm).
CollecCon
of
the
arCst
hGp://www.brooklynrail.org/2007/07/art/richard-­‐serra

29. An6-­‐Form
For
an
exhibiCon
at
Leo
Castelli’s
warehouse
in
1968,
Serra
created
Splashing
in
which
he
flung
molten
lead
into
the
angle
where
the
floor
meets
the
wall
Richard
Serra,
Splashing,
Leo
Castelli
Warehouse,
New
York,
1968

30. An6-­‐Form
When
cooled,
the
lead
hardened
into
solid
form
Richard
Serra,
Splashing,
Leo
Castelli
Warehouse,
New
York,
1968

31. An6-­‐Form
Prop
consists
of
a
sheet
of
lead
held
to
the
wall
by
a
lead
pipe
leaning
against
it
Richard
Serra,
Prop,
1968.
Lead.
Plate
Whitney
Museum
of
American
Art
hGp://www.brooklynrail.org/2007/07/art/richard-­‐serra

32. An6-­‐Form
Compare
to
Donald
Judd’s
stacks,
where
the
properCes
of
materials
and
methods
of
construcCon
are
concealed
(much
like
the
“brushstrokes”
in
a
painCng
by
Ingres)
Richard
Serra,
Prop,
(foreground),
and
Floor
Pole
Prop
(background),
at
Richard
Serra:
Forty
Years,
MOMA,
2007

33. An6-­‐Form
Resembling
Tony
Smith’s
Die,
this
piece
consists
of
four
500lb
sheets
of
lead
propped
against
one
another
like
a
"house
of
cards"
Richard
Serra,
One
Ton
Prop
(House
of
Cards),
1969.
Lead
anCnomy
Museum
of
Modern
Art

34. An6-­‐Form
Tony
Smith’s
Die:
 StaCc;
controlled
 Adheres
to
a
pre-­‐conceived
schema
Tony
Smith,
Die,
1962
Museum
of
Modern
Art

35. An6-­‐Form
Serra
creates
a
"theatrical"
situaCon
where
the
viewer
experiences
the
literal
(rather
than
“pictorial”)
relaConships
of
material,
weight,
and
gravity
Richard
Serra,
One
Ton
Prop
(House
of
Cards),
1969.
Lead
anCnomy
Museum
of
Modern
Art

36. Richard
Serra
Richard
Serra’s
later
works
became
increasingly
involved
with
creaCng
“situaCons”
rather
than
“objects”
Richard
Serra,
Delineator,
1974-­‐75.
Hot-­‐rolled
steel.
Two
plates,
each:
1”
x
10’
X
26’
CollecCon
of
the
arCst.
hGp://www.brooklynrail.org/2007/07/art/richard-­‐serra

37. Richard
Serra
In
Delineator,
the
arCst
placed
two
large
plates
of
steel
on
the
floor
and
ceiling
As
we
enter
the
space
we
immediately
begin
to
orient
ourselves
in
relaCon
to
the
forms.
The
piece
“tends
to
turn
you,”
as
the
arCst
explains,
and
“reframes
the
room,”
so
that
the
space
of
the
room
itself
becomes
the
sculptural
work
Richard
Serra,
Delineator,
1974-­‐75.
Hot-­‐rolled
steel.
Two
plates,
each:
1”
x
10’
X
26’
CollecCon
of
the
arCst.
hGp://www.brooklynrail.org/2007/07/art/richard-­‐serra

38. “My
sculptures
are
not
objects
for
the
viewer
to
stop
and
stare
at.
The
historical
purpose
of
placing
sculpture
on
a
pedestal
was
to
establish
a
separaCon
between
the
sculpture
and
the
viewer.
I
am
interested
in
creaCng
a
behavioral
space
in
which
the
viewer
interacts
with
the
sculpture
in
its
context.”
Richard
Serra
Richard
Serra,
Delineator,
1974-­‐75.
Hot-­‐rolled
steel.
Two
plates,
each:
1”
x
10’
X
26’
CollecCon
of
the
arCst.
hGp://www.brooklynrail.org/2007/07/art/richard-­‐serra

39. Richard
Serra
Serra’s
Titled
Arc
was
a
monumentally
scaled
site-­‐specific
work
It
was
commissioned
by
the
NEA
Art
in
Public
Places
Grant,
which
sets
aside
a
percentage
of
public
building
funds
for
sculpture
in
public
spaces
Richard
Serra,
Tilted
Arc,
1981

40. Richard
Serra
The
120
foot
long
curving
wall
was
designed
to
engage
viewers
in
an
“encounter”
that
would
heighten
awareness
of
the
public
space
Richard
Serra,
Tilted
Arc,
1981
Federal
Plaza,
NYC
Photo
©
1985
David
Aschkenas

41. Richard
Serra
However,
the
work
was
so
disliked
by
the
people
who
used
the
plaza
that
a
public
protest
was
organized
and
the
work
was
eventually
removed
Richard
Serra,
Tilted
Arc,
1981
Federal
Plaza,
NYC
Photo
©
1985
David
Aschkenas

42. Richard
Serra
“The
Tilted
Arc,
decision
prompts
general
quesCons
about
public
art,
an
increasingly
controversial
subject
through
the
late
1980s
and
early
1990s
in
the
U.S.
and
abroad.
The
role
of
government
funding,
an
arCst's
rights
to
his
or
her
work,
the
role
of
the
public
in
determining
the
value
of
a
work
of
art,
and
whether
public
art
should
be
judged
by
its
popularity
are
all
heatedly
debated.
Serra's
career
conCnues
to
flourish,
despite
the
controversy.
"I
don't
think
it
is
the
funcCon
of
art
to
be
pleasing,"
he
comments
at
the
Cme.
"Art
is
not
democraCc.
It
is
not
for
the
people."
Other
works
by
Serra
are
in
the
permanent
collecCon
of
museums
around
the
world.”
hGp://www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/
Cltedarc_a.html

43. Richard
Serra
Serra’s
more
recent
work
was
recently
the
focus
of
a
retrospecCve
at
the
Museum
of
Modern
Art
His
large
scale
architectural
installaCons
exemplify
an
approach
to
sculpture
that
is
more
focused
on
creaCng
“situaCons”
and
“experience”
rather
than
“objects”
Richard
Serra
inside
his
piece
Sequence
in
one
of
the
second-­‐floor
galleries
of
the
Museum
of
Modern
Art
in
New
York
City
on
May,
16,
2007

44. Beyond
Objects
Robert
Morris
was
also
moving
away
from
the
producCon
of
"objects"
towards
the
creaCon
of
"situaCons."
Robert
Morris,
Un#tled
(Pink
Felt),
1970
Guggenheim

45. Beyond
Objects
In
an
essay
published
in
Ar*orum
in
1969,
he
proclaimed
the
making
of
objects
to
be
obsolete
“Work
that
results
in
a
finished
product
.
.
.
finalized
with
respect
to
either
Cme
or
space
.
.
.
no
longer
has
much
relevance”
Robert
Morris,
“Notes
on
Sculpture
4:
Beyond
Objects,”
Ar*orum
April
1969

46. Beyond
Objects
He
called
for
a
shiO
from
the
producCon
of
“objects”
to
the
creaCon
of
“situaCons”
Robert
Morris,
Un#tled,
1969
MOMA

47. Beyond
Objects
Minimalism
already
began
this
process,
but
the
object
remained
the
“star”
of
the
show

48. Beyond
Objects
The
objects
remained
“figures”
inhabiCng
the
visual
field,
much
like
the
figure/ground
relaConship
in
a
tradiConal
Renaissance
painCng
Raymond
Holbert,
Perspec#ve
Study,
2004
hGp://memorybanque.com/perspecCve.html

49. Beyond
Objects
But
what
if
we
made
the
viewer
the
“figure”
and
the
sculpture
the
“visual
field”?
Yayoi
Kusama,
Mirror
Room
-­‐
Phalli’s
Field,
museum
Boymans
van
Beuningen
in
RoGerdam
Image
source:
Flickr

50. Beyond
Objects
In
Un#tled
(Threadwaste)
Morris
recycled
another
industrial
material
-­‐-­‐
threadwaste
used
for
industrial
packing,
which
he
scaGered
on
the
floor
in
an
amorphous
mass
Robert
Morris,
Un#tled
(Threadwaste),
1968
InstallaCon
at
Museé
Art
Contemporain,
Lyon,
2006
Photo
by
Blaise
Adilon

51. “To
this
Morris
added
miscellaneous
felt
pieces,
copper
tubing,
and
chunks
of
asphalt.
From
within
the
mass
of
this
material
.
.
.
rise
a
number
of
rectangular
double-­‐sided
mirrors,
that,
in
their
reflecCons,
produce
an
uncanny
replicaCon
of
the
scaGer
piece’s
horizontal
sprawl.”
Robert
Morris:
The
Mind
Body
Problem,
exh.
Cat.
Guggenheim
Museum,
1994,
p.
226

52. Beyond
Objects
The
work
is
like
a
Pollock,
minus
the
“transcendental
signified”
of
the
arCst,
and
minus
the
precious
objectness
of
a
painCng
that
can
be
framed
Robert
Morris,
Un#tled
(Threadwaste),
1968
InstallaCon
at
Museé
Art
Contemporain,
Lyon,
2006
Photo
by
Blaise
Adilon

53.
Robert
Morris,
Un#tled
(Threadwaste),
detail
Photo
by
Blaise
Adilon

54. Robert
Morris,
Un#tled
(Threadwaste),
1968
Centro
per
L”Arte
Contemporonea,
Prato,
2005

55. Robert
Morris,
Un#tled
(Threadwaste),
1968
MOMA

56. Beyond
Objects
The
emphasis
on
experience
through
Cme
has
affiniCes
with
Happenings
Robert
Morris,
Un#tled
(Threadwaste),
1968
InstallaCon
at
Museé
Art
Contemporain,
Lyon,
2006
Photo
by
Blaise
Adilon

57. Beyond
Objects
Barry
Le
Va
was
also
working
with
so-­‐
called
“scaGer
pieces”
Barry
Le
Va,
Con#nuous
and
Related
Ac#vi#es;
Discon#nued
by
the
Act
of
Dropping,
1967
(installaCon
view,
Full
House:
Views
of
the
Whitney’s
CollecCon
at
75,
Whitney
Museum
of
American
Art,
2006).
Felt
and
glass,
dimensions
variable.
Whitney
Museum
of
American
Art,

58. Beyond
Objects
“A
recipe
for
a
typical
early
Le
Va
piece
might
run
something
like:
"Cover
the
floor
with
long
parallel
lines
of
flour.
Set
electric
fans
in
the
middle
of
the
room.
Turn
them
on."
From
simple
acts
like
this
came
moments
of
startling,
ephemeral
beauty
whose
genesis
the
viewer
reconstructs.
The
work
became,
it
was
oOen
said,
a
series
of
"clues,"
the
viewer
a
detecCve
who
recreated
events
-­‐
in
the
hope
of
experiencing
Cme,
space
and
materials
in
a
more
mindful,
uncentered
way”
Roberta
Smith,
“Minimal
and
Mad
in
Equilibrium,”
NY
Times,
Feb
25
2005
Barry
Le
Va,
Con#nuous
and
Related
Ac#vi#es;
Discon#nued
by
the
Act
of
Dropping,
1967
(installaCon
view,
Full
House:
Views
of
the
Whitney’s
CollecCon
at
75,
Whitney
Museum
of
American
Art,
2006).
Felt
and
glass,
dimensions
variable.
Whitney
Museum
of
American
Art,

59. “
First
created
in
1967,
this
work
consists
of
large
and
small
pieces
of
felt
casually
piled
and
strewn
about
the
floor
and
topped
off
with
a
single,
large
sheet
of
broken
glass.
It
was
clearly
dropped
onto
the
felt,
where
it
shaGered
and
terminated
any
further
arranging.
The
glass
is
"like
a
period,"
the
arCst
says
in
the
audio
guide
to
the
show.”
Barry
Le
Va’s
Con#nuous
and
Related
Ac#vi#es;
Discon#nued
by
the
Act
of
Dropping
(1967)
Roberta
Smith,
“Minimal
and
Mad
in
Equilibrium,”
NY
Times,
Feb
25
2005

60. Beyond
Commodi6es
Postminimalism
also
moved
beyond
the
producCon
of
“aestheCc
objects”
that
could
be
packaged
and
sold
as
“commodiCes.”
This
can
be
seen
parCcularly
well
in
a
landmark
exhibiCon
that
Robert
Morris
curated
at
Leo
Castelli’s
warehouse
on
east
108th
street
in
1968.
InstallaCon
view
of
“9
at
Leo
Castelli,”
1968

61. It
hardly
looks
like
an
“art”
exhibiCon
at
all!
InstallaCon
view
of
“9
at
Leo
Castelli,”
1968
On
floor
clockwise
from
leO:
William
Bollinger,
Un#tled;
Steve
Kaltenbach,
Un#tled;
Bruce
Nauman,
John
Coltrane
Piece;
Gilberto
Zorio,
Un#tled;
Eva
Hesse,
Augment;
On
wall:
Keith
Sonnier
Un#tled
and
Mustee
Image
source:
Lisa
Phillips,
The
American
Century

62. Beyond
Commodi6es
Minimalism
had
already
deflated
the
preciousness
of
the
art
object
by
presenCng
“specific
objects”
without
pedestal
or
frame
Donald
Judd,
Un#tled,
1968.
Enamel
on
aluminum
Guggenheim
Museum

63. Beyond
Commodi6es
But
compared
to
the
work
displayed
in
Castelli’s
warehouse
Minimalism
looks
as
prisCne
and
“ideal”
as
a
Greek
statue!
InstallaCon
view
of
“9
at
Leo
Castelli,”
1968

64. Beyond
Objects
This
lack
of
aestheCc
quality
was
important:
arCsts
such
as
Robert
Morris
believed
that
“quality”
and
“beauty”
only
served
to
transform
art
into
an
easily
consumable
product.
“From
such
a
point
of
view
the
concern
with
‘quality’
in
art
can
only
be
another
form
of
consumer
research
.
.
.
“
Robert
Morris,
“Notes
on
Sculpture
4:
Beyond
Objects,”
Ar*orum
April
1969
InstallaCon
view
of
“9
at
Leo
Castelli,”
1968

65. Beyond
Objects
While
vanguard
art
was
moving
away
from
“art
stars”
and
“aestheCcs,”
the
market
was
perpetually
re-­‐converCng
these
advances
into
consumable
“objects.”
“At
the
present
Cme
the
culture
is
engaged
in
the
hosCle
and
deadly
act
of
immediate
acceptance
of
all
new
perceptual
art
moves,
absorbing
through
insCtuConal
recogniCon
every
art
act.
The
work
discussed
has
not
been
accepted.”
Robert
Morris,
“Notes
on
Sculpture
4:
Beyond
Objects,”
Ar*orum
April
1969

66. Beyond
Objects
Post
Minimalism
was
driven
in
part
by
a
resistance
to
the
market
that
paralleled
the
counter
cultural
concerns
of
the
1960s
“A
dissaCsfacCon
with
the
current
social
and
poliCcal
system
results
in
an
unwillingness
to
produce
commodiCes
which
graCfy
and
perpetuate
that
system.
Here
the
spheres
of
ethics
and
estheCcs
merge.”
InstallaCon
view
of
“9
at
Leo
Castelli,”
1968
Barbara
Rose,
1969