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Post-Minimalism Collage

Post-Minimalism

Started: 1966

Post-Minimalism Timeline

Quotes

"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 to manipulate."
Bruce Nauman
"My life and art have not been separated. They have been together."
Eva Hesse
"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
"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)

KEY ARTISTS

Vito AcconciVito Acconci
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Joseph BeuysJoseph Beuys
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Chris BurdenChris Burden
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Eva HesseEva Hesse
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Sol LeWittSol LeWitt
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Richard LongRichard Long
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"The steel and the space, or the object and the void, become one and the same."

Richard Serra Signature

Synopsis

The term "Post-Minimalism" was first used in reference to a range of art practices that emerged in the wake of Minimalism in 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 Body art, Performance, Process art, Site-Specific art, and aspects of Conceptual art. 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.

Key Ideas

Some Post-Minimal artists were interested in extending Minimalism's interest in anonymity and in emptying artwork of the artist's personal expression. Instead of using industrial materials and impersonal methods of fabrication to achieve this, they used other strategies. They presented material in ways that seemed unprocessed or uncomposed, or the material drooped and sagged, clearly governed more by the character of the material rather than the artist's intentions. To distinguish it from Minimalism's perceived concern with form and composition, this is referred to as "anti-form."
Some Post-Minimalists shared the Minimalists' interest in abstraction and materiality, yet rejected their preoccupation with industrial materials. They also rejected the movement's mood and rhetoric, often perceived as cold, over-intellectual and even authoritarian, responding with sculptures of more expressive qualities, often evoking the body and aspects of sexuality.
Many Post-Minimal artists admired Minimalism's break with conventional formats of painting and sculpture, wanting to investigate new limits or traditions in the making of art. Some believed that the chosen material should govern the character of the art object. Others believed in a more expanded sense of technique that encompassed the artist's processes, the materials and even the way gravity operates on materials.
Some artists also took the cue to get out of the gallery and install art in new environments. This led to a new interest in the relationship between the artwork and its site, called Site-Specificity. Others took artwork into the natural environment in the Land art movement.

Beginnings

Post-Minimalism Image

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, critic Lucy Lippard curated work by a group of artists, including Eva Hesse, Louise Bourgeois and Bruce Nauman. Containing work with highly personal and sensuous qualities, it drew on traditions of Surrealism, Dada and Expressionism. 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.

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Post-Minimalism Overview Continues

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Content compiled and written by Julianne Cordray

Edited and published by The Art Story Contributors

" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Julianne Cordray
Edited and published by The Art Story Contributors
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