p.p1 Essays’ in 1966, she stated that ‘there

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Minimalism originates from the minimal geometric forms of the Russian painter Kasimir Malevich who placed a black square on a white canvas that he titled ‘Void (Figure)’ and the French artist Marcel Duchamp who created original works of art called the ‘ready-made (Figure)’. It emerged as a movement in the 1960s and was specifically a style of abstract sculpture and paintings that exceeded in reducing content and form and seeking to remove any sign of self-expressivity and in effect a style of visual art reduced to the essentials of geometric forms. The aim of Minimal Art is to allow the viewer to experience the work without any distractions of composition or theme, although, when Minimalism was introduced to the art world it was mischaracterised as plain, reductive, and also termed as ABC Art, Cool Art, Literalist Art, Object Art and Primary Structure Art, many critics also deemed it as being deliberately boring ‘critics who approved of Minimal Art, aside from Rose, did not find it boring, while those who disliked it were quick to accuse it of being only that.’ however, some artist saw it as they were not trained to critique this movement and that they were baffled by what was being produced, Susan Sontag dealt with the viewers inability to deal with new art in her book ‘Against interpretation and other Essays’ in 1966, she stated that ‘there is, in a sense, no such thing as boredom. Boredom is only another name for a certain species of frustration and the new languages which the interesting art of our time speaks are frustrating to the sensibilities educated people.’. Barbara Rose was one of few who pushed Minimal Art at the beginning, she described it as ABC Art and said that it was purposely ‘vacant or vacuous…In other words, the apparent simplicity of these artists’ work was arrived at through a series of complicated highly informed decisions.’ Rose found Minimalism boring because it was essentially theoretical. Her essay titled ‘ABC Art’ was one of the very first major essays dedicated to a definition of Minimal style and its attributes. Rose traces the growth of the Minimal style through Abstract Expressionism and points out comparable features in the various art forms of the 50s and 60s.

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