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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
- Sales Rank: #102245 in Books
- Published on: 2004-08-11
- Original language: English
- Number of items: 1
- Dimensions: 10.08" h x .91" w x 7.68" l, 2.52 pounds
- Binding: Paperback
- 348 pages
From Publishers Weekly
James Meyer, exploring the debate over artists like Sol LeWitt, Donald Judd, Anne Truitt, Robert Morris and Dan Flavin in Minimalism: Art and Polemics in the Sixties, attempts to make sense of minimalism as an artistic moment. Meyer (editor of Minimalism) points out that, at first, the term "minimalism" was derogatory, implying that the art was too reduced and abstract. In the late '60s, the label lost its stigma as the work was widely recognized by major museums, and minimalist art headed toward canonization. Meyer analyzes that process as well as the backlash against minimalism by leftists, especially in Europe, who associated it with American cultural imperialism. He also places minimalist art in a broader cultural context, noting the stripped-down, austere sensibility that prevailed in '60s fashion and design, making the book attractive to anyone who enjoys cultural history. 130 b&w, 30 color photos.
Copyright 2001 Cahners Business Information, Inc.
Review
“Meyer’s writing is intelligent, informed, and subtle. The book is well produced and generously illustrated with good quality colour and black and white images.”—John A. Walker, Art Book
“This new volume combines a sophisticated reading of the critical discourse surrounding Minimalism with a step-by-step history of the work’s development and its appearance on the public stage from 1961 through 1968.”—Pepe Karmel, Art in America
About the Author
James Meyer is associate professor of art history at Emory University.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By Mecho
Great book.
4 of 5 people found the following review helpful.
Essential and Readable
By Brian D'Amato
This book is already becoming the standard work on the etiology of the movement. Meyer combines a complete mastery of the period's theoretical issues with a sleuth's approach to its historical narrative. Essential.
71 of 74 people found the following review helpful.
review of Minimalism (Themes and Movements)
By Lane Banks
A glorious book combining a multitude of exquisite images of important Minimalist works with an unusual book design that includes overlapping fonts, and font sizes that progressively downsize as the reader moves through the text. (The book designers must have had a ball with this job.)
The first section is loosely defined as a history of the development and basic tenets of Minimalism. An idea that weaves throughout much of the work termed Minimal is the use of serial geometry, industrial materials, and factory production methods that deny the centuries-old tradition of art as a unique, hand-crafted object that cannot be replicated. Although Minimalism is no longer avant-garde, its influences are felt today in Conceptual and process art, as well as Neo-Geo. This section goes beyond the traditional survey that simply is a factual list of themes or ideas utilized by each particular artist to also include critical response to the work. Minimalism is broadly characterized as a response to and reaction against the subjectivity, gestural mark-making, and private vision of Abstract Expressionism.
The bulk of the book, the second section, is given to reproductions of the works by the Minimalist artists and those often associated with Minimalism. Large photos are accompanied by captions that describe that particular piece.
The third and final section is a collection of writings, interviews, and other publications by critics and the artists themselves, chronologically arranged to illustrate the chain of discourse eminating from important exhibitions of Minimalist work.
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