Lecture 2Minimalism

MLK in Tennessee with Hosea Williams, Jesse Jackson, and Ralph Abernathy, Lorraine Motel, April 1968

March on Washington 1963

Paris 1968 riots

students and police at Berkeley protests, 1965

Joseph Albers . Homage to the Square: Apparition .1959 Kasimir Malevich. White on White, 1918.

Ellsworth Kelly: Window, Museum of Modern Art, Paris, oil on wood and canvas, two joined panels,, 1949

Ellsworth Kelly: Painting for a White Wall, oil on canvas, five joined panels,1952

Ellsworth Kelly: Red Curve I, oil on canvas, 1972

Ellsworth Kelly, Red Blue Green(1963)

Kenneth, Noland. Cantabile, 1961. Noland, Kenneth. Inner Way, 1961.

Kenneth Noland: Grave Light, 1965

Kenneth Noland. Drive, 1964.

Noland. Bridge, 1964.

Noland. Band Sinister, 1964

Noland. Trans West, 1965.

Piet Mondrian. Tableau No. IV; Lozenge Composition with Red, Gray, Blue, Yellow, and Black, c. 1924/1925, oil on canvas on hardboard, diamond

Stella, Frank. New Madrid, 1961. Frank Stella: Six Mile Bottom, metallic paint on canvas, 1960

Frank Stella, Union I, from the Irregular polygon series 1966; fluorescent alkyd and epoxy paints on canvas;

Agnes Martin: The Tree, oil and pencil on canvas, 1964

Agnes Martin: Morning, acrylic and pencil on canvas, 1965

``Minimalism derives its name from the minimum of operating means. Minimalist painting is purely realistic- the subject being the painting itself.`` David Burlyuk in the catalogue for John Graham`s exhibition in 1929.

Anthony Caro: Early One Morning, painted steel and aluminium, 1962

David Smith: Cubi xix, stainless steel, 1964

Dan Flavin. Monument’ for V. Tatlin, mixed media, 1966–9

Dan Flavin, “eight ‘monuments’ for V. Tatlin,” black ballpoint ink on white paper, 1966-9.

Tatlin’s monument 1919.

Dan Flavin: Untitled, installation, florescent light, 1996.

Dan Flavin, “untitled (in honor of Harold Joachim) 3,” pink, yellow, blue, and green fluorescent light, 1977.

Donald Judd: Untitled, galvanized iron and lacquer, twelve units, each 1016×229×787 mm with 229 mm intervals, 1967

Judd. Untitled [Six boxes] 1974. Sculpture, brass- 6 units

“Although Judd was of course a legendary minimalist artist, he always had the DNA of a designer and builder as well. His boxy sculptures are always seamless, hiding all traces of their construction. They are perfect aesthetic compositions in a way that architecture can’t be because of its exponentially greater practical, functional concerns – and all the more compelling as a result. Judd’s work is for designers and design enthusiasts a kind of minimalist Platonic ideal.”

Untitled (1980-84), Chinati Foundation, Marfa

Donald Judd. Untitled. St. Louis, Missouri, Installed 1985.

Donald Judd, 100 untitled works in mill aluminum (detail), 1982–86, aluminum. Installation view, Chinati Foundation, Marfa, TX.

https://www.youtube.com/watch?v=Pgelc5BVQrk

Robert Hughes visiting Donald Judd’s Marfa Complex

Robert Morris. Metered Bulb. (1962-1963) pull chain, and electricity meter mounted on painted wood 17.7 x 8 x 8.25 in.

Marcel Duchamp. 50cc of Paris Air. 1919.

Robert Morris and Carolee Schneemann. Site (1963)

Robert Morris, Untitled (Threadwaste), Castelli Gallery 1968.

Robert Morris, Untitled (Cock/Cunt), Rulers hinged together, mounted on wood base, 14 x 42.2 x 3.8 cm, 1974

Robert Morris: Untitled (Tangle), felt, each strip 25 mm thick, dimensions variable, museum installation 2.95×2.69×1.47 m, 1967

Carl Andre. Equivalent VIII, 1966. Building bricks.

Tony Smith: Die, steel, 1.83×1.83×1.83 m, 1962.

Sol LeWitt: Two Open Modular Cubes/Half-Off, enamelled aluminum, 1972

``deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. The arrangement becomes the end while the form becomes the means.``

- LeWitt, 1967

Sol Lewitt. Wall Drawing 273, Lines to Points on a Grid (1975)

Sol Lewitt. Lines from the midoints of lines 1975 , etching

Dan Flavinthe diagonal of May 25, 1963 (to Constantin Brancusi)1963

Andre, Carl137 firebricks11.4 x 22.5 x 883.9 cm installed; brick: 11.4 x 22.5 x 6.4 cm each, 1966

Brancusi. The Endless Column in Târgu Jiu, Romania, 1938. Restored in 2000.

Frank Stella Die Fahne Hoch 1959

Richard Serra

Robert Morris installation Green Gallery New York, 1964. Seven plywood structures painted grey.

Tony Smith. Die, 1962. Steel, 72x72x72

“This is a complicated piece, it has too many references to be coped with coherently” Tony Smith about Die in an interview.

Albert Speer. Sudbahnhof (South train station) Berlin

Le Corbusier. Villa Savoye, France 1931.

Ludwig Mies van der Rohe and John B. Parkin and Associates and Bregman + Hamann. Three of the Toronto-Dominion Centre's five towers (left to right): the Ernst & Young Tower, the Toronto-Dominion Bank Tower, and the Royal Trust Tower. 1969.

Walter de Maria. Death Wall, Stainless steel, 11.4 x 54 x 2.5 cm, 1965.