This article is about the concept in the arts. Klein was a pioneer in the development of baudelaire selected writings on art and literature pdf art. Western art, most strongly with American visual arts in the 1960s and early 1970s.
1915, oil on canvas, 79. According to Lawson minimalism was the result, even though the term “minimalism” was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, and unlike the previous decade’s more subjective philosophy about art making theirs was ‘objective’.
In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. 1969, continuing on to say that “indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing. The width of the stripes in Frank Stellas’s black paintings were often determined by the dimensions of the lumber he used for stretchers to support the canvas, visible against the canvas as the depth of the painting when viewed from the side. Stella’s decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a “given” feature of the physical construction of the support. There is nothing else in his painting. Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns.
In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd. This movement was heavily criticized by modernist formalist art critics and historians.