Art History II – Renaissance to Modern Era
Table of Contents
Post-Minimalism emerged in the late 1960s as a reaction to Minimalism's rigid formalism. It introduced more expressive elements, embracing organic forms, unconventional materials, and process-oriented approaches. This movement challenged the idea of autonomous art objects.
Post-Minimalism expanded on Minimalism by incorporating chance, improvisation, and emphasizing the creative process. It reintroduced subjective elements, bodily references, and explored site-specificity beyond physical space. This shift paved the way for diverse contemporary art practices.
Minimalism vs Post-Minimalism
Emergence and Philosophical Differences
- Post-Minimalism emerged in late 1960s as reaction to Minimalism's rigid formalism
- Introduced more expressive and subjective elements into art
- Minimalism focused on geometric abstraction and industrial materials
- Post-Minimalism embraced organic forms, unconventional materials, and process-oriented approaches
- Post-Minimalist artists incorporated performance, installation, and site-specificity elements
- Moved beyond Minimalism's object-based focus
- Minimalism emphasized impersonal and detached aesthetics
- Post-Minimalism allowed for personal, emotional, and political content in artworks
Artistic Approach and Content
- Post-Minimalism challenged idea of autonomous art object
- Explored complex relationships between art, viewer, and environment
- Minimalism sought to eliminate references to outside world
- Post-Minimalism incorporated allusions to nature, body, and cultural contexts (human form, natural landscapes)
- Post-Minimalist works invited viewer interaction and participation
- Moved beyond passive contemplation encouraged by Minimalist art
- Post-Minimalism embraced imperfection, irregularity, and decay
- Challenged Minimalism's pursuit of ideal geometric forms and pristine surfaces
Post-Minimalism's Expansion on Minimalism
Process and Materials
- Post-Minimalist artists introduced elements of chance, improvisation, and process
- Contrasted with Minimalism's predetermined and controlled approach
- Used soft, pliable, or ephemeral materials (fabric, latex, ice)
- Challenged Minimalism's preference for hard-edged, industrial materials and permanent forms
- Emphasized physical act of creating art
- Made process as important as final product, unlike Minimalism's focus on finished object
- Employed everyday, found, or industrial materials in unexpected ways
- Eva Hesse's use of latex, fiberglass, and plastic
- Explored inherent properties and behaviors of materials
- Allowed materials to dictate final form through natural processes (melting, sagging, decay)
Artistic Expression and Context
- Reintroduced subjective and expressive elements Minimalism sought to eliminate
- Incorporated bodily and organic references (human silhouettes, organic shapes)
- Expanded concept of site-specificity beyond physical space
- Included social, political, and cultural contexts in artworks
- Practices involved repetitive, labor-intensive processes
- Left visible traces of artist's hand, contrasting with Minimalism's machine-like precision
- Combined diverse materials in single works
- Created hybrid forms defying easy categorization
- Challenged traditional notions of medium specificity
Unconventional Materials in Post-Minimalism
Soft and Flexible Materials
- Prevalent use of fabric, rubber, and rope in Post-Minimalist sculpture
- Allowed for forms that could change shape or respond to gravity
- Contrasted with Minimalism's rigid, static forms
- Examples include Lynda Benglis' poured latex sculptures
- Robert Morris' felt pieces that draped and folded organically
Environmental and Ephemeral Materials
- Incorporated earth, plants, and water into artworks
- Expanded boundaries of traditional sculptural media
- Used time-based and ephemeral materials (ice, steam, sound)
- Created temporary or constantly changing artworks
- Examples include Andy Goldsworthy's nature-based installations
- Robert Smithson's "Spiral Jetty" made from rocks and salt crystals in Great Salt Lake
Industrial and Found Objects
- Repurposed everyday items as art materials
- Challenged traditional notions of artistic media
- Examples include Richard Serra's use of industrial materials like steel and lead
- Tony Cragg's sculptures made from found plastic objects
Post-Minimalism's Influence on Contemporary Art
Impact on Sculptural and Installation Practices
- Emphasis on process and materiality influenced contemporary sculpture
- Shaped development of installation and performance art
- Encouraged experimentation with new media and technologies
- Influenced evolution of land art, eco-art, and public art interventions
- Examples include Olafur Eliasson's immersive installations
- Ai Weiwei's large-scale sculptural works using unconventional materials
Conceptual and Theoretical Influences
- Exploration of body and its traces influenced feminist art practices
- Contributed to development of body art and performance (Carolee Schneemann, Marina Abramović)
- Challenge to autonomy of art object led to rise of relational aesthetics
- Inspired participatory art forms in contemporary practice (Rirkrit Tiravanija's interactive installations)
- Embrace of imperfection and chance influenced contemporary approaches to abstraction
- Shaped process-based art practices (Julie Mehretu's layered abstract paintings)
Interdisciplinary Approaches
- Expansion of artistic boundaries paved way for interdisciplinary art forms
- Encouraged hybrid practices characteristic of contemporary art
- Influenced development of new media art and digital installations
- Examples include Doug Aitken's multi-media installations
- Janet Cardiff and George Bures Miller's immersive sound works
Key Terms to Review (24)
Labor-intensive processes: Labor-intensive processes are methods of production that require a high amount of human effort and craftsmanship compared to capital or machinery. In art, these processes often emphasize the artist's physical engagement with materials and techniques, resulting in works that embody the time and effort invested in their creation. This focus on manual labor reflects a shift from industrialized practices to more personalized and intricate forms of artistic expression.
Spiral Jetty: Spiral Jetty is a large earthwork sculpture created by artist Robert Smithson in 1970, located at the northeastern shore of Great Salt Lake in Utah. This iconic piece is characterized by its spiral shape made from basalt rocks and dirt, extending into the lake, and it embodies key concepts of Post-Minimalism, which emphasizes the relationship between art, nature, and the environment.
Relational aesthetics: Relational aesthetics is an artistic philosophy that emphasizes social interactions and the relationships between people within the context of art. Instead of focusing solely on the artwork as an object, this approach prioritizes the experiences and dialogues created between artists, participants, and the audience. It fosters a sense of community and shared experience, blurring the lines between art and life.
Hesse's Hang-Up: Hesse's Hang-Up refers to the artistic and theoretical critique by German artist and philosopher Joseph Beuys regarding the limitations and restrictive nature of Minimalist art. This critique highlighted how Minimalism, while focused on materiality and reduction, often failed to engage with emotional depth and social context, which Beuys believed were essential to art's purpose.
Institutional critique: Institutional critique is an art practice that examines and challenges the systems, structures, and institutions of the art world itself, including galleries, museums, and other cultural organizations. This form of critique often seeks to expose the power dynamics, economic interests, and cultural narratives that shape artistic production and reception, prompting reflection on the broader implications of these institutions in society. Artists engaging in institutional critique aim to redefine the role of art and its institutions, calling into question established norms and practices.
Feminist critique: Feminist critique is an analytical framework that examines art, literature, and culture through the lens of gender inequality, focusing on the representation and experiences of women. It seeks to challenge patriarchal norms and highlight the biases in historical narratives, emphasizing women's voices and contributions that have often been overlooked. This approach is particularly significant in understanding how artistic movements, including Post-Minimalism, engage with issues of identity, power, and representation.
Fabrication: Fabrication refers to the process of creating artwork by assembling or constructing materials rather than merely shaping them. This technique is essential in various art forms, allowing artists to explore concepts of objecthood, reality, and the physicality of materials. It emphasizes the act of making as a crucial part of the artistic expression, often challenging traditional notions of art.
The expanded field: The expanded field refers to the idea that contemporary art practices have moved beyond traditional boundaries and definitions, allowing for a broader understanding of what constitutes art. This concept emphasizes the integration of different mediums, contexts, and experiences, often blurring the lines between art, design, and everyday life.
Found objects: Found objects are everyday items or materials that artists incorporate into their work, often recontextualizing them to create new meanings. This practice challenges traditional notions of art by blurring the line between art and everyday life, inviting viewers to reconsider the value and purpose of these objects. In the context of contemporary art, found objects serve as a powerful means of expression and commentary on consumerism and culture.
Chance: In art, 'chance' refers to the incorporation of randomness or unpredictability in the creation of a work. This approach embraces elements that are outside the artist's control, often resulting in unique and unexpected outcomes. Chance becomes a fundamental aspect in various movements, challenging traditional notions of authorship and intent.
Bodily references: Bodily references in art refer to the ways in which artworks engage with, depict, or evoke the human body and physical presence. This concept highlights the relationship between the viewer and the artwork, often emphasizing the physicality and sensory experiences that arise from observing and interacting with art. In the context of Post-Minimalism, bodily references serve to challenge traditional notions of artistic representation by incorporating the viewer's experience and emphasizing materiality.
Cultural Contexts: Cultural contexts refer to the social, historical, political, and economic environments that shape and influence the creation, interpretation, and reception of art. Understanding cultural contexts helps to reveal the underlying meanings and intentions behind artistic works, as well as how they resonate with or challenge contemporary societal norms and values.
Improvisation: Improvisation refers to the act of creating something spontaneously without prior planning or preparation. In artistic contexts, this concept allows for a free expression and exploration of ideas, often leading to innovative forms and styles. It encourages artists to respond to their immediate environment or feelings in the moment, resulting in unique, one-of-a-kind creations that can challenge traditional techniques and conventions.
Anti-form: Anti-form refers to an artistic movement that challenges traditional notions of form, structure, and representation in art. It emphasizes spontaneity, chance, and the natural flow of materials over rigid geometric shapes or predefined designs. This approach often results in works that are organic and fluid, highlighting the process of creation rather than focusing on a polished end product.
Lynda benglis: Lynda Benglis is an American artist known for her innovative contributions to contemporary art, particularly in the realms of sculpture and performance. She is associated with Post-Minimalism, a movement that emerged as a reaction against Minimalism, emphasizing individual expression, materiality, and the viewer's experience in the art-making process.
Site-specificity: Site-specificity refers to the concept in art where a work is created to exist in a particular location, taking into account the environment, cultural context, and physical characteristics of that space. This term emphasizes how the meaning and experience of the artwork are closely tied to its specific location, transforming the relationship between art, artist, and audience.
Andy Goldsworthy: Andy Goldsworthy is a British sculptor and environmental artist known for his site-specific artworks created in natural settings, often using materials found in nature such as stones, leaves, and ice. His work emphasizes the relationship between nature and art, often exploring themes of transience and the passage of time, which aligns with the ethos of Post-Minimalism.
Robert Morris: Robert Morris was a prominent American sculptor and installation artist, known for his influential work in the Post-Minimalism movement during the 1960s and 1970s. His art challenged traditional notions of sculpture by incorporating unconventional materials and emphasizing the process of creation, which resonated with the Post-Minimalist focus on experience and viewer interaction.
Tony Cragg: Tony Cragg is a renowned British sculptor known for his innovative use of materials and exploration of form, contributing significantly to the Post-Minimalism movement. His work often emphasizes the relationship between nature and human intervention, blending organic shapes with industrial materials. Cragg's sculptures challenge traditional notions of sculpture and engage viewers in a dialogue about perception and experience.
Richard Serra: Richard Serra is an influential American artist known for his large-scale steel sculptures and contributions to the Post-Minimalism movement. His work often emphasizes the physicality of materials and the spatial experience of viewers, challenging traditional notions of sculpture as a static object. Serra’s approach reflects a deep engagement with industrial processes and the interplay between art, space, and the audience's perception.
Eva Hesse: Eva Hesse was a pioneering American artist known for her innovative contributions to the Post-Minimalism movement, particularly in the realm of sculpture. Her work is characterized by the use of unconventional materials such as latex, fiberglass, and cheesecloth, reflecting her exploration of form, process, and the emotionality of materials. Hesse's sculptures often blurred the lines between traditional and modern art practices, challenging established norms and emphasizing personal expression.
Environmental art: Environmental art is a genre of art that focuses on the relationship between art and the natural environment, often addressing ecological issues and promoting environmental awareness. This form of art can be site-specific, utilizing natural landscapes and materials, or it can create installations that provoke thought about humanity's impact on nature. Environmental art encourages viewers to engage with the environment in meaningful ways, highlighting the interconnectedness of art, nature, and society.
Process art: Process art is an artistic movement that emphasizes the creative process over the finished product, focusing on the experience of making art rather than the final outcome. This approach often incorporates elements of chance, spontaneity, and the artist's interaction with materials, encouraging viewers to consider the actions and decisions involved in creating a work rather than solely its aesthetic qualities.
Post-minimalism: Post-minimalism refers to an art movement that emerged in the late 1960s as a response to minimalism, characterized by a focus on process, materials, and the viewer's experience. While minimalism emphasized simplicity and the elimination of personal expression, post-minimalism sought to reintroduce emotional content and the artist's individual voice, often through the use of unconventional materials and forms. This movement bridges the gap between the strict aesthetics of minimalism and the more subjective approaches of contemporary art.