National Gallery of Victoria Education Resource
Guggenheim Collection: 1940s to Now
The 1960s and 1970s:
Minimalism, Post-Minimalism and Conceptual Art
- Minimalism and Conceptual Art aims to strip art to its barest and most essential elements.
- Artists featured within this theme are Dan Flavin and Donald Judd. Both artists challenge traditional sculpture, reducing forms to essential elements and using materials that probe the essence of art.
Many Minimalist artists reacted against the emotive Abstract Expressionist movement and sought to create an art devoid of emotional gestures. They wished to strip art to its barest and most simplified elements.
These artists questioned the need for a subject in art. The materials became the subject. Emotion was unimportant. They wished to remove the artist's unique mark, preferring impersonal mass-produced materials available commercially. Artists Dan Flavin and Donald Judd challenged traditional sculpture by defying the need for frame or pedestal, placing their art directly on the floor or between walls.
One Minimalist artist, Ad Reinhardt defined the style in the following terms:
"The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with getting rid of nature."
Conceptual artists developed this idea a step further. They wished to explore art at its most fundamental. For Conceptual artists the important thing was the idea behind an artwork, and not the object that was produced.
"In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art."
Quoted in Paragraphs on Conceptual Art by Sol LeWitt, Artforum, June 1967.
Dan Flavin Untitled (to Jan and Ron Greenberg) 1972–73
untitled (to Jan and Ron Greenberg) 1972–73
yellow and green fluorescent light, edition 1/3
246.4 x 213.4 x 25.4 cm
Solomon R. Guggenheim Museum, New York
© Dan Flavin/ARS, New York. Licensed by VISCOPY, Australia
Photo by David Heald © Solomon R. Guggenheim Foundation, New York
Dan Flavin creates sculptures using coloured fluorescent light tubes. His titles usually reflect dedications to people who influenced him. For Untitled (to Jan and Ron Greenberg), 1972-73, Flavin strips his sculptures down to the three elements of light, colour and space. It becomes a fusion of all these elements that the viewer must engage with to fully comprehend.
Untitled (to Jan and Ron Greenberg), 1972-73 is comprised of multiple yellow and green flourescent tubes set vertically in the centre of a corridor. Flavin has ingeniously left the width of one fluorescent tube open at one end, enabling light from the other side to be seen and the colours to fuse. This creates a narrow but intense contrast of light that pierces the corridor space. The wall of light becomes an architectural feature as well as the source of light. The light and colour bounces from the walls and ceiling enveloping the viewer and shadows play on each surface depending on the position of the viewer within the space.
Flavin has deconstructed his sculptural form to its essence – light and colour. The viewer must encounter the work from both sides to experience it as a whole. Flavin challenges the illusionary aspects of traditional use of light and colour in art. The form of his work circumvents the need for a frame or a pedestal.
Interpretation and Meaning
Some critics have interpreted Flavin’s sculptures as spiritual. Flavin spent a short time in the seminary as a young man, so many critics suggest that his light sculptures are like a literal interpretation of light as the symbol of enlightenment or God and an attempt to transcend time and space. It is not difficult to imagine such a response, because in effect you have to feel rather than see the sculpture.
Dan Flavin finds these very lofty interpretations too complicated. In response to this perspective, he has said:
It is what it is, and it ain’t nothin’ else...There is no overwhelming spirituality you are supposed to come
into contact with...It’s in a sense a “get-in-get-out” situation. And it is very easy to understand. One
might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an
art as you will ever find.
Quoted in The Strange Case of the Fluorescent tube, by Michael Gibson, Art International 1 (Autumn
Materials and Techniques
Flavin reassessed the types of materials that could be used for artwork. He did not want his fluorescent light tubes to be custom made. He was very determined that all the lights he used were standard commercially produced tubes that could be easily purchased in a hardware store. In doing so, Flavin took the common object out of its usual context to pioneer a challenging and new approach to sculpture. The simplicity of the singular light tube and the immediacy of the ambient light and colour are important features of his work. The uniformity and repetition of the materials is also significant for Flavin.
I am constantly for clarity and distinction...first in the pattern of the tubes and then with that of the
supporting pans. But with or without colour, I never neglect design.
Quoted in Dan Flavin, Proposals for the visible, by Beatrice von Bismarck, p.16
Some critics interpret this use of commercial materials as a ‘Neo-Duchampian readymade’. (See Art in America: in another light -– fluorescent light art, Dan Flavin, Dia Centre for the Arts, Guggenheim Museum, PaceWildenstein, New York, New York, by Richard Kalina, p. 1)
This refers to a controversial Dada artist named Marcel Duchamp. He placed ordinary objects in an art gallery and declared them to be art. An infamous example was when he signed a urinal "R.Mutt" and entited it Fountain 1917. Apart from shocking the public, he was primarily challenging the traditional idea of what art should be.
The Minimalists sought to remove emotion from their art work, quite opposite to the Abstract Expressionists who used gesture to convey an expressive personal response to their subject. Flavin's choice of commercially manufactured flourescent tubes contributes to creating that cool, clean, non-emotive aesthetic.
Robert Morris, a Minimalist artist, wrote:
The object has not become less important. It has merely become less self-important.
Quoted in Dan Flavin, Proposals for the visible, by Beatrice von Bismarck, p.14
Donald Judd Untitled 1971
orange enamel on cold-rolled steel
8 units with 30.5 cm intervals
121.9 x 121.9 x 121.9 cm (each)
121.9 x 1188.7 x 121.9 cm (overall)
Solomon R. Guggenheim Museum, New York
© Donald Judd Licensed by VISCOPY, Australia
Solomon R. Guggenheim Foundation
For Untitled, 1971, Donald Judd reduces his sculptural forms to the most basic of structures: the box. For Judd, order and simplicity are the most important elements of his work. The objects attain a sterile, almost aloof presence. The cubes show no evidence of who made them or how they were constructed. Judd also uses repetition of specific singular forms to emphasize feelings of uniformity. The objects do not communicate anything apart from existence.
They are encountered objectively and despite Judd’s preoccupation with stripping his artworks of emotional content, Untitled, February 22, 1971 creates a dramatic statement that cannot be ignored. For Judd the context of the work is just as important as the artwork itself. Rather than using plinths, he places his pieces directly onto the floor. His work therefore takes on an architectural quality.
Comparing Flavin and Judd
Dan Flavin described his artworks as proposals and Donald Judd described his sculptures as specific objects. Both artists were challenging the way artists made and conceived artworks and the way in which viewers respond to them. It is almost as if they were challenging the viewer to ask, what is the purest and most essential element of art?
Some social commentators claim that ‘the simple life’ has been engulfed by mass media and huge corporations, manipulating how we think and act. The 1960s and 70s were a time of considerable political and social upheaval. Media coverage of the Vietnam War, the Feminist movement and the Civil Rights movement raised public consciousness of equality, conscription and other social and political issues.
Judd and Flavin are provoking the viewer to reassess what is important. They are not simplifying objects for their own sake but reconsidering ideas about sculpture to get to the essence of art. Carl Andre stated of Minimalist art:
‘Minimal’ means to me only the greatest economy in attaining the greatest ends.
Carl Andre – Minimalist artist
Quoted in Minimalism- Art of Circumstance, Cross River Press Press, 1988, p.14
Donald Judd stated:
Actual space is intrinsically more powerful and specific than paint on a flat surface.
Quoted in Donald Judd, Specific Objects, 1964. Arts Yearbook 8 (1965). p. 94, reprinted in,
Donald Judd: Early Works 1955-1968 (exhibition catalogue) by Thomas Kelliein New York: D.A.P.,
In abstract art the elements of art (such as colour, shape, line and tone) are used to create an image or form that is not realistic/naturalistic. There are varying degrees of abstraction in art. Some abstract art reflects clear references to recognisable forms. Other abstract art makes limited or no reference to recognisable forms.
A style of painting generally associated with a group of artists who worked in New York in the late 1950s. These artists used colour and paint expressively in their work to convey feelings and moods. Their paintings are characterised by shallow pictorial space and all over composition. Abstract Expressionist paintings are generally non-representational, but some include figurative elements.
The term Art Brut was first used by the painter Jean Dubuffet to refer to a range of art forms outside the conventional dictates of the art world. He amassed a large collection of graffiti art made by the mentally ill, prisoners, children , and other naïve (untrained) artists, whose raw or innocent vision and directness of technique he admired. In turn, he sought to emulate these qualities in his own work and in 1948 he established a society to encourage the study of At Brut. This kind of art has also been referred to as ‘outsider art’; that designation has been applied to Dubuffet’s own work.
In 1952, the French writer Michael Tapie authored the book Un Art autre ( Art of another kind) and organised an exhibition of the same name, which included paintings by Karel Appel, Jean Dubuffett, Willem de Kooning, and others. Tapie was trying to define a tendency in postwar Europe painting that he saw as a radical break with all traditional notions of order and composition – including those of Modernism – in a movement toward something wholly "other". He used the term Art Informel ( from the French informe, meaning unformed or formless) to refer to the anti-geometric, anti-naturalistic, and non figurative formal preoccupations of these artists, stressing their pursuit of spontaneity, looseness of form, and the irrational.
Writing or drawing that is produced by unconscious free–association, and spontaneous action, rather than by rational, controlled thought and planning.
John Milton Cage Jr., born September 5, 1912 was an American composer. He is perhaps best known for his 1952 composition 4'33", whose three movements are performed without playing a single note. He was a pioneer of chance music, non-standard use of musical instruments, and electronic music. Though he remains a controversial figure, he is generally regarded as one of the most important composers of his era. In addition, Cage was also a philosopher, writer, printmaker, and avid amateur mycologist and mushroom collector. He died on August 12 1992.
Group formed in 1948 by artists from Copenhagen, Brussels and Amsterdam and taking its name from the first letters of those cities. However, these artists also welcomed the coincidental reference to the snake, since animal imagery was common in Cobra painting. They were also interested in the art of children. Leading members of Cobra were Karel Appel, Asger Jorn and Constant Nieuwenhuys (known simply as Constant). In style their painting was highly Expressionist. As a group they had active social and political concerns. Cobra held a major exhibition in 1949 at the Stedelijk Museum in Amsterdam under the title International Experimental Art, but the group dissolved in the early 1950s.
Colour Field Painting
Term originally used to describe the work from about 1950 of the Abstract Expressionist painters Mark Rothko, Barnett Newman and Clyfford Still, which was characterised by large areas of a more or less flat single colour. Around 1960 a more purely abstract form of Colour Field painting emerged in the work of Helen Frankenthaler, Morris Louis, Kenneth Noland and others. It differed from Abstract Expressionism in that these artists eliminated both the emotional, mythic or religious content of the earlier movement, and the highly personal and painterly or gestural application associated with it. In 1964 an exhibition of thirty-one artists associated with this development was organised by the critic Clement Greenberg at the Los Angeles County Museum of Art. He titled it Post-Painterly Abstraction, a term often also used to describe the work of the 1960 generation and their successors. In Britain there was a major development of Colour Field painting in the 1960s in the work of Robyn Denny, John Hoyland, Richard Smith and others.
Georges Braque and Pablo Picaso originated the style known as Cubism, one of the most internationally influential innovations of 20th century art. Other practictioners of Cubism in its varied forms include the painters Albert Gliezes, Juan Gris, Fernand Leger, Jean Metzinger, and (in his early work) Piet Mondrian, and sculptors, Alexander Archipenko, Henri Laurens, and Jacques Lipchitz. The Cubists fragmented objects and pictorial space into semitransparent, overlapping, faceted planes of pigment, thought by some to show a spatial shift from different perspectives within the same time and space and to emphasize the canvas’s real two-dimensional flatness instead of conveying the illusory appearance of depth.
Influential international intellectual movement, which was founded in Zurich in 1916 by a group of artists and writers. The Dadaists rejected and ridiculed the values, ideas and culture of society.
Marcel Duchamp, born July 28, 1887, was a French artist (he became an American citizen in 1955) whose work and ideas had considerable influence on the development of post-World War II Western art, and whose advice to modern art collectors helped shape the tastes of the Western art world.
While he is most often associated with the Dada and Surrealism movements, his participation in Surrealism was largely behind the scenes.
Duchamp prodded thought about artistic processes and art marketing, not so much with words, but with actions such as dubbing a urinal "art" and naming it Fountain, and by "giving up" art to play chess. He produced relatively few artworks as he quickly moved through the avant-garde rhythms of his time. Duchamp died on October 2, 1968.
Philosophical movement stressing personal experience and responsibility of the individual, who is seen as a free agent.
A technique used by Surrealist artists to produce texts or images incorporating random ideas and chance. Based on a traditional parlour game, creating the exquisite corpse involves several participants who each, in turn, contribute words or images to a text or image, without seeing what previous participants have contributed.
Feminism / Feminist Movement
A social and political movement that advocates equality and rights for women. Feminist art has taken many different forms but often gives emphasis to subjects, materials and techniques associated with women’s lives.
Art in which there is some form of likeness to real objects, people or places.
Gestalt psychology is a theory of mind and brain that proposes that the operational principle of the brain is holistic, parallel, and analog, with self-organizing tendencies; or, that the whole is greater than the sum of its parts. The classic Gestalt example is a soap bubble, whose spherical shape (its Gestalt) is not defined by a rigid template, or a mathematical formula, but rather it emerges spontaneously by the parallel action of surface tension acting at all points in the surface simultaneously. This is in contrast to the "atomistic" principle of operation of the digital computer, where every computation is broken down into a sequence of simple steps, each of which is computed independently of the problem as a whole. The Gestalt effect refers to the form-forming capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves. In some scholarly communities (eg. computational neuroscience), Gestalt theories of perception are criticized for being descriptive rather than explanatory in nature. For this reason, Gestalt principles are viewed by some as redundant or uninformative. In other fields (eg. perceptual psychology and visual display design), Gestalt principles continue to be used and discussed today.
American art collector Marguerite Guggenheim known as Peggy was born on August 26, 1898. Peggy Guggenheim was instrumental in the promotion of modern art in the twentieth century. Independently wealthy, she lived most of her life in Europe; she had a particular affection for Venice and her longtime home there is now a renowned museum for art dating from the first half of the twentieth century. Today, her name remains associated with the avant-garde, Cubist, Surrealist and Abstract Expressionist movements in art.
Hard Edge Painting
First used in the late 1950s in reference to the non-representational paintings of a group of American artists. These artworks were characterised by precisely defined areas or geometric shapes of flat smooth colour. In these paintings there is no distinction between foreground, and background space, making the picture surface look absolutely flat.
High art is often associated with art forms such as opera, classical music, ballet, literature and fine art. It is widely perceived as the work of professional artists, serious in intent, valuable and aimed mainly at an exclusive and educated audience. The terms ‘high art’ and ‘popular culture’ reflect the hierarchical division that is sometimes perceived between different forms of cultural production.
From a German word ‘verkitschen’ which means to make cheap.It is often used as a dimissive term to describe objects and works of art that are considered to be bad taste and worthless.
Media forms, such as television, radio, newspapers and magazines, which communicate to large numbers of people.
Art associated with the major movements in Western art between c.1860–1970. According to some commentators on art history, during this time art ‘progressed’ from naturalistic representation (ie. Impressionism) to the abstract and non–representational art forms of the high modernist styles of the 1950s and 1960s (ie. Minimalism) that were seen as a form of ‘pure’ art. Many aspects of modern art, including the idea that art ‘progresses’ from one style to another were challenged by postmodernism.
Marilyn Monroe, born Norma Jeane Mortenson on June 1, 1926, was a Golden Globe Award-winning American actress, singer, model and pop icon. She was known for her comedic skills and screen presence, going on to become one of the most popular movie stars of the 1950s and early 1960s. At the later stages of her career, she worked towards serious roles with a measure of success. However, she faced disappointments in her career and personal life during her later years. Her death on August 5, 1962 has been subject to speculation and conspiracy theories.
Op art (short for optical art) is a style of non–representational painting in which precise arrangements of colour, line or shape are used to create the illusion of movement, light or space. Op art became popular in the mid 1960s and influenced fashion and interior design.
Born Pablo Ruiz y Picasso on October 25, 1881, in Málaga, Spain. Picasso is considered to be one of the most important artists of the twentieth century. While he showed great artistic promise growing up, Picasso really began to thrive creatively once he moved to Paris in the early 1900s. There he was exposed to works of other artists and developed friendships with some of them, including Georges Braque.
With a career that spanned more than seven decades, Picasso's work is often categorized into different periods and associated with a number of artistic movements. His early days in Paris coincide with his Blue period, named for the predominant use of that colour in his work and his general mood at that time. This was followed by his Rose period and a brief dabbling in work inspired by primitive art. It was Cubism–the style in which the artist breaks down his or her subjects into geometric shapes–that put Picasso in the spotlight. One of his paintings in this style Les Demoiselles d'Avignon (1907) shocked critics and friends alike when it was exhibited.
Later Picasso sought a different type of reaction from his painting Guernica (1937), which is thought to be one of Picasso's greatest works. Created during his Surrealist period, Picasso captures the horror of the bombing of the Basque town of Guernica, which killed many innocent civilians during the Spanish Civil War.
By the end of World War II, Picasso had become an internationally known artist and celebrity. A highly productive artist, he created a large number of works during his lifetime. Besides painting, he made sculptures, etchings, and many different types of prints. Picasso died on April 8, 1973, in Antibes, France.
Pop art developed in England in the 1950s and then came to prominence in America in the 1960s. It is a style that takes its subject matter, and some of its ideas and techniques, from the everyday world, in particular industrialised popular culture.
Popular culture includes popular forms of entertainment, fashion, consumer goods and advertising. It is also often linked to commercial or mass production, and is perceived as having little or no serious aesthetic, intellectual or economic value. The artificial boundaries between high art and popular culture have been blurred by many artists since the development of Pop art in the 1950s and 60s (see Pop art).
Popism was a landmark exhibition, curated by Paul Taylor, held at the National Gallery of Victoria in 1982. The exhibition highlighted the use of images, forms or text drawn from popular culture or other sources.
A general term used to describe a wide range of cultural and critical movements and ideas that have influenced contemporary society since the 1970s. Postmodernism challenged many widely accepted ideas and values in art, culture and society. Postmodern visual art often addresses issues related to modernism in art, including the emphasis on innovation, originality, and progress that is associated with modern art. Many postmodern artworks include images or forms appropriated from earlier art styles or popular culture. Fragmentation, fabrication, layering, parody and humour are also common characteristics of postmodern art.
A sub–culture that originated in the United Kingdom and United States in the 1970s. Punk was closely associated with anti–establishment values and ideas that were evident in extreme and rebellious forms of fashion and music. Influential bands associated with Punk music include The Sex Pistols
, The Clash
and The Ramones
Ad Rienhardt was born Friedrich Reinhardt on December 24, 1913, in Buffalo, New York. He studied art history under Meyer Schapiro at Columbia University, New York, from 1931 to 1935 and studied painting with Carl Holty and Francis Criss at the American Artists School from 1936 to 1937. He also studied at the National Academy of Design with Karl Anderson in 1936. Between 1936 and 1939, Reinhardt worked for the WPA Federal Art Project. From 1937 to 1947, he was a member of the American Abstract Artists group. Reinhardt continued his studies from 1946 to 1951 at the New York University Institute of Fine Arts.
Reinhardt was given his first solo exhibition at Columbia Teachers College in 1943, and by 1946 was showing regularly with the Betty Parsons Gallery, New York. Reinhardt was a pioneer of Hard-edge painting at this time. In the 1950s, he began to limit his palette to a single colour, moving from red to blue and then to his final stage of black paintings. In 1966, the Jewish Museum, New York, organized an exhibition of Reinhardt’s paintings, which was accompanied by a catalogue with texts by Lucy Lippard and the artist. Reinhardt died August 30, 1967, in New York
French word meaning rebirth, now used in English to describe the great revival of art that took place in Italy from about 1400 under the influence of the rediscovery of classical art and culture. In Italian, Rinascimento. Renaissance reached its peak (High Renaissance) in short period from about 1500-1530 in the work of Michelangelo, Leonardo and Raphael. The work of Raphael may be seen as representing the purest form of the Renaissance style and he was held up as prime model in the art academies until the mid nineteenth century. Up to then the Renaissance style underwent myriad successive transformations as in Mannerism, Baroque, Rococo, Neo-Classicism, and the Romantic movement.
Leni ( Berta Helene Amalie) Riefenstahl was born in Berlin, 22 August, 1902. Her career included work as a dancer, actress, film producer, director, and also a photographer, but the rest of Leni Riefenstahl's career was shadowed by her history as a documentary maker for Germany's Third Reich in the 1930s. Often called Hitler's propagandist, she disclaimed knowledge of or any responsibility for the Holocaust, saying in 1997 to the New York Times, "I did not know what was going on. I did not know anything about those things."
Leni Riefenstahl later told the story of happening upon a Nazi party rally where Adolf Hitler was speaking. His effect on her, as she reported it, was electrifying. She contacted him, and soon he had asked her to make a film of a major Nazi rally. This film, produced in 1933 and titled Sieg des Glaubens ("Victory of the Faith"), was later destroyed, and in her later years Riefenstahl denied that it had much artistic value.
Leni Riefenstahl’s next film was the one that made her reputation internationally: Triumph des Willens ("Triumph of the Will"). This documentary of the 1934 Nazi Party convention in Nuremburg (Nürnberg) has been termed the best propaganda film ever made. Leni Riefenstahl always denied that it was propaganda – preferring the term documentary – and she has also been called the "mother of the documentary." Reifenstahl died 8 September, 2003 aged 101.
Romantic art refers to a period of art where artists concentrated on emotional content to communicate ideas. Romantic artists often depicted landscapes as lyrical, awe inspiring scenes that attempted to acknowledge the grandeur of nature as well as God's supreme command of nature. Nature becomes a natural force, dramatic and dangerous.
Surrealism began in the early 1920s as a literary movement under the leadership of the French writer André Breton. Surrealist artists sought to fuse everyday reality with the experience of dreams and the subconscious to create a ‘super’ reality. Surrealist images often combine logically unconnected objects using a meticulous, almost photographic technique, sometimes evoking a dream–like quality. Other artists explored the unconscious mind by using techniques of ‘automatism’. The ‘reality’ of the subconscious mind and the world of dreams were preferred over the matter–of–fact reality and logic of everyday life. Major exponents were Salvador Dali, Max Ernst, Jean Arp and Joan Miro.
Tachisme derived from the French word tache
– stain, was a French style of abstract painting in the 1940s and 1950s. It is often considered to be the European equivalent to Abstract Expressionsim. Other names for this movement are l’art informel (similar to Action painting) and abstraction lyrique (lyrical abstraction). Tachisme was a reaction to Cubism and is characterised by spontaneous brushwork, drips, and blobs of paint straight from the tube, and sometimes scribblings reminiscent of calligraphy.