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Although none of the artists actually accepted the term 'Minimalism', their common use of serial, modular or repeating forms (from Carl Andre's floor sculptures of readymade bricks or Judd's stacked boxes) as well as the abstraction and industrial production of the work, drew these artists' work together. As opposed to the vulgar and populist Pop Art, Minimalism, like conceptualism, considered itself 'high art'. These artists' aim was to create an art that was non-hierarchical (no single part of the work takes precedence over any other) and thus entirely democratic.
With direct access to many of the artists' archives, this book is the most comprehensive and definitive sourcebook on Minimalism available.
Survey Critic and art historian James Meyer, a leading authority on Minimalism, examines the movement from its beginnings to its broader cultural influence.
Works provides an extensive colour plate section with extended captions for every artwork. The excellent selection of images illustrates the surprising variety of work, and also relates it to other artists such as Eva Hesse and Robert Smithson. Specifications:
- Format: Paperback
- Size: 290 x 250 mm (11 3/8 x 9 7/8 in)
- Pages: 200 pp
- Illustrations: 296 illustrations
- ISBN: 9780714856537
Meyer has written extensively on Minimal artists. Publications include Minimalism: Art and Polemics in the 1960s (Yale, 2001); he has contributed essays to Mel Bochner: Thought Made Visible 1966–1973 (Yale, 1995); Ellsworth Kelly: Sculpture for a Large Wall, 1957 (Matthew Marks Gallery, 1998); Eva Hesse: A Retrospective, ed. Elisabeth Sussman (San Francisco Museum of Modern Art, 2002); Conceptual Art: Theory, Myth, Practice (Cambridge, 2004) and A Minimal Future (Museum of Contemporary Art, Los Angeles, 2004). He is the editor of Carl André, Cuts=Texts, 1999–2004 (MIT Press, 2005) and has contributed to journals Artforum, Art Magazine, Flash Art and Parkett.
"Readers will learn as much about the subject as one book can be expected to deliver."—Barry Schwabsky, Bookforum
"Well written... An excellent ‘Documents’ section that allows a proper investigation of the movement’s theoretical bases."—Art Review
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