"The steel and the space, or the object and the void, become one and the same."
The term "Post-Minimalism" was first used in reference to a range of art practices that emerged in the wake ofin the late 1960s. In a similar manner to the term "Post-Impressionism" it serves to gather together a range of styles that are related, yet which often have very different, even opposing interests. Post-Minimalism refers to tendencies such as , , , , and aspects of . Some artists associated with this tendency sought to extend the Minimalists' interest in creating art objects that do not have the representational function of traditional sculpture, objects that are abstract, anonymous in appearance, and have a strong material presence. But other Post-Minimalists pursued very different goals: many reacted against the earlier movement's impersonality, trying to invest sculpture once again with emotionally expressive qualities. While the formal and theoretical interests of this period are no longer so influential, many of the themes and strategies of Post-Minimal artists remain very current, making it one of the most enduring styles of the last half-century.
MOST IMPORTANT ART
The True Artist Helps the World by Revealing Mystic Truths, (Window or Wall Sign) (1967)
This seminal work was created in the studio Nauman established in an abandoned grocery store in San Francisco and modeled after the neon advertisement signs nearby. It acts as an advertisement of a different kind. Its colorful, circular text proclaims the words of the title: "The True Artist Helps the World by Revealing Mystic Truths." It is characteristic of Nauman's early neon works, and typical of the tone of dry satire in much of his oeuvre. Commenting on high art in the materials of low culture and advertising, it sets up a clash that questions old assumptions about the purpose of art and artists, like are artists just ordinary salesmen? One might say that the piece is Post-Minimalist simply by virtue of standing at the borders of so many different styles and approaches of the period, borrowing from Pop art's interest in advertising, and Conceptual art's interest in language.
Neon tubing and clear glass tubing - Collection of the artist
New developments in art came fast in the 1960s. No sooner had Minimalism emerged onto the public stage than Post-Minimalism surfaced. In a 1966 New York exhibition entitled Eccentric Abstraction, criticcurated work by a group of artists, including , and . Containing work with highly personal and sensuous qualities, it drew on traditions of , and . The pieces often combined unusual, soft and pliable materials. Some borrowed the modular, repetitive compositions typical of Minimalism, but many also exploited more relaxed and open structures.
Critic and art historian Robert Pincus-Witten, who coined the term 'Post-Minimalism,' observed that what Lucy Lippard referred to as 'Eccentric Abstraction' was actually part of emerging reactions against Minimalism. These reactions gained further recognition in 1969 when thestaged the exhibition Anti-Illusion: Procedures/Materials. Grounded in Process art, the show was concerned with artists' attitudes towards materials and techniques. It highlighted artists extending Minimalism's interest in abstraction and anonymity. The title Anti-Illusion drew attention to a widespread preoccupation with emptying sculpture of its last vestiges of representation, and therefore expression. Representation, generally of the human figure, had always been at the heart of sculpture, and ridding it of this tradition proved to be a complex and difficult task.
Another significant Post-Minimalism exhibition was entitled When Attitudes Become Form, which surveyed more conceptual trends, was staged in London and Bern in 1969. In the same year, artistorganized 9 in a Warehouse, a Process art exhibition that included work by , and , as well as a selection of artists from Italy. This indicated that, although American in origin, the term Post-Minimalism also adequately described developments elsewhere.
Themes, Concepts, and Styles
Exemplified by Robert Morris's clumps and random accumulations of soft felt, Process Art emerged in the late 1960s and built the foundation for other Post-Minimal tendencies. Like the 'action paintings' of, in which the physical act of dripping paint onto the canvas is an integral aspect of the work, Process art produces work in which the act of creation - the process of production - is inseparable from its meaning. Process art focuses on the event and the action. For that reason, often it leads to works in which time, impermanence, and site-specificity are important issues.
Works in which Richard Serra hurls molten lead at the walls and floor of a gallery are also an example of the ephemeral, spontaneous and shapeless character of much Process art. But Eva Hesse's work also demonstrates an aspect of this, sometimes taking the Minimalist cube or grid as a basis for the work, but putting more attention on matter and materials. For instance, Hesse's Accession II (1967-69), one of a series, contains a cube of aluminum mesh with an open top. The mesh is intricately woven through with plastic tubing, drawing attention to its soft interior rather than its geometric form. Hesse uses industrial materials and makes them seem organic, like grass or hair, exploring their inherent possibilities. She imbues Minimalist forms with organic warmth and sensuality to create a protective space, while making the process of the work's fabrication clear to the viewer (something which is often more hidden in the highly finished works of the Minimalists.)
Using the body as a means of expression was another one of the ways Post-Minimal artists sought to escape the saleable, object-character of Minimalist artworks. It also gave them an ideal way to imbue their work with human expressiveness, a quality that was lacking from Minimalist art. Body artists were influenced byand performances, theater, and even anti-war demonstrations.
Some artists used their bodies to perform repetitive gestures that highlighted ordinary, seemingly pointless actions typically engaged in without notice or consequence. The nature of the simple, repeated actions often made the viewer aware of the passing of time and the physicality of the body. One artist who explored this mode was. In Blinks (1969), he walked down a street trying hard not to blink and taking a photograph every time he did. Bruce Nauman also explored the expressive potential of simple actions in many of the films he made in the late 1960s. The films often documented the artist continually pacing, walking a line or perimeter, or pulling at his own face. In all of these films, there is no final product and no clear purpose for the actions carried out by the artist.
Body art could also be confrontational, aggressive and dangerous. As a result of cynical and pessimistic attitudes sparked by economic troubles, declining faith in government and opposition to the Vietnam War, artists began to adopt an aggressive manner that emphasized fear and the vulnerability of the human condition. For example, in works after 1970, Acconci brings an autobiographical aspect to his work, often placing himself under stress and discomfort. In doing so, he effectively blurs the boundaries between the private and public self. He implements an element of sadomasochism and violence in many of his Body art performances, he invokes his sexuality, and he conceives of his body as a malleable object. For example, in Conversions (1970) Acconci tried several means to alter his sexual identity from male to female, in one instance using a candle flame to remove his chest hair.
In a similar manner to the violent actions performed by Acconci,intentionally placed himself in physically threatening scenarios in a series of performances from the early 1970s. In some notorious works, Burden trapped himself in a locker for days without food, arranged to be shot in the arm at close range and had himself nailed to a car. By constructing shocking situations of self-mutilation, his works became about the experience, often specifically about the reality of pain and violence.
A wide-spread awareness of the environment and concern for ecological issues also developed in the 1970s. In this spirit many Post-Minimalists turned to the earth itself as the material and site for art-making. They altered the way a particular site could be experienced, often blurring the boundaries between the location and the artwork itself. Typical of this is work by British artistLine Made by Walking (1967) takes the form of a line made in the grass, a mark that could easily be overlooked in the landscape and that will inevitably disappear with time. Long's work throughout the 1970s and 1980s took him around the world and generally involved the simple process of walking and leaving a trail, or rearranging stones into shapes along the way. He would record the work with photographs and maps of territories he had visited.
Work byin early 1970s, and by in the 1980s, formed a sort of urbanized Earth Art, using refuse and debris as well as condemned buildings as site and medium. Again, the impetus to escape the traditional sculptural object and bring art outside the gallery is typical of Post-Minimalism. This variation of Earth art served to emphasize waste, consumer culture and human impact on the natural environment. In these and many earthworks, change and the passing of time are major themes. (1970) is typical in taking the subjects of decay, time and temporality as central components. Earth art draws awareness to instability, time, space, and entropy, and connects the viewer - emotionally and physically - to nature.
In an extension of the Post-Minimalist concern with site and expansion beyond the traditional art object, Installation art involved the creation of complex indoor environments that engaged the viewer as a sort of actor-participant. Bruce Nauman's installation works, which he began to create around 1968, shifted the focus from himself to the direct experience of the viewer. Echoing the mood of some Body art, Nauman's installations often encouraged feelings of entrapment, fear, dread, anxiety, and disorientation. For example, his Double Steel Cage Piece (1974) required visitors to find their way through narrow passageways and corridors. In a series of pieces based on the tightly constructed corridors, Nauman sometimes incorporated video cameras and monitors as a type of self-surveillance system. Such psychologically distressing works served as precursors to sculptures Nauman would create in the early 1980s, which were directly influenced by the experiences of political prisoners.
By 1974, Vito Acconci also began to move away from works that focused on his own body and experience. Acconci confronted the viewer in his installation environments, which were often accompanied by recordings of his own voice. In the 1980s, Acconci began constructing perverse house-like environments that disoriented and discomforted viewers as they walked through them, bringing to mind associations of the home and imprisonment, in works such as Bad Dream House (1988).
The variety of tendencies that the term Post-Minimalism encompassed endured throughout the 1970s. While declining in the 1980s, as traditional media such as painting made a return, it made an important contribution to the art of that decade by laying the foundations for work that addresses identity politics and issues of race, gender and sexuality. And, more recently, with the return to fashion of conceptual modes, artists of the Post-Minimalist generation have also experienced a renaissance.
Seemingly the 1980s sent Post-Minimalism underground, yet it remains alive today. This is largely due to the fact that artists who engage with any of its myriad strands, from aspects of performance to process to installation, must still engage with ideas that were addressed in the 1960s and 1970s.
"If you can manipulate clay and end up with art, you can manipulate yourself in it as well. It has to do with using the body as a tool, an object
"My life and art have not been separated. They have been together."
"Disengagement with preconceived enduring forms and orders for things is a positive assertion. It is part of the work's refusal to continue aestheticizing form by dealing with it as a prescribed end."
"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. This kind of art is not theoretical or illustrative of theories; it is
intuitive, it is involved with all types of mental processes and it is purposeless."
-Sol LeWitt, 'Paragraphs on Conceptual Art' (1967)
"Considerations of ordering are necessarily causal and imprecise and unemphasized. Random piling, loose stacking, hanging, give passing form to the material. Chance is accepted and indeterminacy is implied since replacing will result in another configuration. Disengagement with preconceived enduring forms and orders for things is a positive assertion. It is part of the work's refusal to continue aestheticizing form by dealing with it as a prescribed end."
-Robert Morris, 'Anti Form' (1968)