Minimalism : art and polemics in the sixties.
Minimalism : art and polemics in the sixties.
James Meyer.
New Haven : Yale University Press, c.2001.
viii, 340 p. : ill. (some col.) ; 27 cm.
N6512 .5 .M5 M49 2001
Like many art movements that were named by critics rather than practitioners, Minimalism was never really a coherent group so much as a shifting array of artists who shared a similar set of concerns. Meyer’s approach to Minimalism, then, is to examine each of the major practitioners as his own discrete movement, but also to realize that artists like Donald Judd, Dan Flavin, and Carl Andre could only be fully defined in relation to one another (NB: For an introduction to the critical literature surrounding Minimalism's almost solely male membership, see Anna C. Chave's influential essay "Minimalism and the Rhetoric of Power," in Power: Its Myths and Mores in American Art, 1961-1991.). Meyer’s book covers the movement in a generally chronological fashion, beginning in the late 1950s and ending in 1968. Since Minimal artists were some of the most active writers and theoreticians in the 1960s, the book pays particular importance to their writings as well as those of critics, providing a rich view of the documentary history of the movement. The book’s extensive bibliography provides an ample introduction to further sources.
James Meyer.
New Haven : Yale University Press, c.2001.
viii, 340 p. : ill. (some col.) ; 27 cm.
N6512 .5 .M5 M49 2001
Like many art movements that were named by critics rather than practitioners, Minimalism was never really a coherent group so much as a shifting array of artists who shared a similar set of concerns. Meyer’s approach to Minimalism, then, is to examine each of the major practitioners as his own discrete movement, but also to realize that artists like Donald Judd, Dan Flavin, and Carl Andre could only be fully defined in relation to one another (NB: For an introduction to the critical literature surrounding Minimalism's almost solely male membership, see Anna C. Chave's influential essay "Minimalism and the Rhetoric of Power," in Power: Its Myths and Mores in American Art, 1961-1991.). Meyer’s book covers the movement in a generally chronological fashion, beginning in the late 1950s and ending in 1968. Since Minimal artists were some of the most active writers and theoreticians in the 1960s, the book pays particular importance to their writings as well as those of critics, providing a rich view of the documentary history of the movement. The book’s extensive bibliography provides an ample introduction to further sources.
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