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1,328 result(s) for "Minimal art."
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Brian Jungen
Publication initially published in print on the occasion of the exhibition Brian Jungen at Witte de With, 2 Dec 2006 to 11 Feb 2007.
Being watched : Yvonne Rainer and the 1960s
In her dance and performances of the 1960s, Yvonne Rainer transformed the performing body. Without discounting these innovations, this book argues that the crucial site of Rainer's interventions in the 1960s was less the body of the performer than the eye of the viewer - or rather, the body as offered to the eye.
Music and Narrative: Philip Glass’s Post-Minimalist Technique in The Hours Interacts with the Structure of the Film
This study explores how Philip Glass’s post-minimalist techniques in the film score of The Hours interact with the film’s non-linear narrative structure. By integrating musicological analysis and film narrative theory, the paper examines the use of micro-variations, additive processes, and repetitive harmonic structures in Glass’s score. These techniques are shown to not only intensify the emotional resonance of the film but also reinforce its fragmented temporal flow across three interwoven storylines. Case studies of specific scenes illustrate how the music’s subtle evolution parallels the narrative’s thematic continuity and psychological depth. This research contributes to the understanding of post-minimalist film scoring, emphasizing the aesthetic and structural synergies between music and moving image.
Mary Corse
Mary Corse (born 1945) earned acclaim in the 1960s for pieces ranging from shaped-canvas paintings to light works. Corse has dedicated the decades since to establishing a practice at the crossroads of Abstract Expressionism and Minimalism.
Neo-Avant-Garde
The neo-avant-garde of the 1950s, 60s and 70s, is due for a thoroughgoing reassessment. This collection of essays represents the first full-scale attempt to deal with the concept from an interdisciplinary standpoint. A number of essays in this book concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, but a number of the contributions also focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays here dealing with geographical blindspots in current neo-avant-garde studies, with thematic issues such as art's entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a multi-dimensional approach to the subject which is noticeably lacking elsewhere. Taken together these essays represent a consolidated attempt at re-thinking the 'cultural logic' of the immediate post-World War II period.
Banishing the thing: Abstraction and Australian sculpture
'Sculpture in the Expanded Field', Rosalind Krauss's influential essay on sculpture after modernism, begins from the assumption that the logic of sculpture 'is inseparable from the logic of the monument'. By virtue of this association, sculpture is a 'commemorative representation' that 'sits in a particular place and speaks in a symbolical tongue about the meaning or use of that place'. However, this connection is disturbed by the arrival of modernist sculpture and its removal of the pedestal on which the monument stands. By erasing the base, Krauss argues, One crosses the threshold of the logic of the monument, entering the space of what could be called its negative condition - a kind of sitelessness, or homelessness, an absolute loss of place. Which is to say one enters modernism, since it is the modernist period of sculptural production that operates in relation to this loss of site, producing the monument as abstraction, the monument as pure marker or base, functionally placeless and largely self-referential.
Génesis del arte minimalista: aportación mexicana
The article addresses the minimalist proposals of Mathias Goeritz and Luis Barragán from 1953, the Mexicans precursors of architectural and sculpture objects contributed to sustain the minimal art avant-garde. American artists of the sixties systematized in part the findings of Mexican architects in implementing minimum structures. The text proposes correspondences plastic root of Mexicans and Americans sculptors, using the method of comparative analysis. Furthermore, the Americans artist’s sculptural theories and systems of construction to developed for the trend. Also, it is verified that the Mexican minimalist production incorporated formal compositional elements developed by the Americans. The text states that the Mexican minimalist work was consolidated in parallel with the Americans, with photographs and references substantiating examples of equivalent creations that enrich the avant-garde. Finally, we address the contemporary minimalist assemblage. El artículo aborda las propuestas minimalistas de Mathias Goeritz y Luis Barragán, a partir de 1953; los precursores mexicanos aportaron obra escultórica y arquitectónica para sustentar la vanguardia del minimal art. Los artistas estadounidenses de los años sesenta sistematizaron en parte los hallazgos de los arquitectos mexicanos en la ejecución de sus estructuras mínimas. El texto propone correspondencias plásticas de norteamericanos y mexicanos de raíz minimalista, utilizando el método de análisis comparativo. Por otro lado, los artistas estadunidenses desarrollaron teorías y métodos escultóricos para la tendencia. Así también, se verifica que la producción minimalista mexicana incorporó elementos formales compositivos desarrollados por los norteamericanos. En el texto se afirma que la obra minimalista mexicana se consolidó de forma paralela a la norteamericana, ejemplificándose con fotografías probatorias de creaciones equivalentes que enriquecen la vanguardia. Por último, se plantea la vigencia del ensamblaje minimalista contemporáneo.