9.1 Critiques of Minimalism and Conceptual Art: Michael Fried and Clement Greenberg
4 min read•august 13, 2024
Minimalism and Conceptual Art faced harsh criticism from influential art critics and . They argued these movements undermined art's autonomy and purity, focusing too much on viewer experience and context rather than the artwork itself.
Despite the critiques, Minimalism and Conceptual Art continued to thrive. Artists defended their work, emphasizing the importance of viewer engagement and challenging traditional notions of artistic skill and expression. The debate sparked deeper discourse about art's purpose and boundaries.
Fried and Greenberg on Minimalism and Conceptual Art
Fried's Critique of Minimalism's Theatricality
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- Fried criticized Minimalist art for its emphasis on the viewer's experience rather than the artwork itself in his essay "" (1967)
- Argued that Minimalist art's focus on the viewer's encounter undermined the autonomy and self-sufficiency of the art object
- Claimed Minimalist art was more concerned with the situation in which the artwork was encountered, rather than the inherent qualities of the work itself
- Saw this as a departure from the modernist ideal of art as a self-contained, autonomous entity
Greenberg's Opposition to Minimalism and Conceptual Art
- Greenberg, a champion of Abstract Expressionism, expressed reservations about Minimalism and Conceptual Art
- Viewed these movements as a threat to the purity and autonomy of the medium, which he considered essential to the progress of modern art
- Argued that Minimalism's emphasis on the object's literal and its rejection of illusionism and representation marked a regression in the development of art
- Believed that art should aspire to a state of "pure opticality," focusing on the inherent properties of the medium rather than external references or concepts
Critiques of Minimalism and Conceptual Art
Fried's Argument Against Minimalism's Incompleteness
- Fried's critique centered on the idea that Minimalist artworks were incomplete without the viewer's presence and participation
- Argued that this reliance on the viewer's experience undermined the artwork's integrity and transformed it into a mere theatrical prop
- Believed the temporality and duration of the viewer's encounter with Minimalist art were antithetical to the instantaneous and timeless nature of genuine aesthetic experience
- Saw Minimalism as a challenge to the modernist notion of the artwork as a self-contained, autonomous entity
Greenberg's Critique of Medium Specificity
- Greenberg's opposition stemmed from his belief in the importance of medium specificity
- Argued that Minimalism and Conceptual Art disregarded the unique properties and limitations of each artistic medium, blurring the boundaries between art forms
- Saw Minimalism's emphasis on the literal, physical presence of the artwork as a rejection of the optical and pictorial qualities essential to the progress of modern art
- Believed this focus on literalism and objecthood represented a regression in the development of art
Impact of Critiques on Art Movements
Continued Growth and Recognition of Minimalism and Conceptual Art
- Despite the influential nature of Fried and Greenberg's critiques, Minimalism and Conceptual Art continued to thrive and gain recognition in the art world
- Many artists and supporters viewed the critiques as misunderstandings or misinterpretations of their intentions
- The debates sparked by the essays helped generate further discourse and analysis, contributing to a deeper understanding and appreciation of these movements
Refinement of Ideas and Development of New Frameworks
- The critiques prompted artists to refine their ideas and articulate their positions more clearly
- Led to the development of new theoretical frameworks and artistic strategies
- Over time, the influence of Fried and Greenberg's critiques has diminished, as Minimalism and Conceptual Art have become firmly established as significant movements in modern and contemporary art
Fried and Greenberg vs Artists and Supporters
Differing Priorities: Autonomy vs Viewer Experience
- Fried and Greenberg emphasized the importance of the artwork's autonomy and self-sufficiency
- Minimalist and Conceptual artists prioritized the viewer's experience and the context in which the work was encountered
- Artists saw the artwork as a catalyst for intellectual and perceptual engagement rather than a self-contained entity
Minimalist Artists' Defense of Their Works
- Minimalist artists (Donald Judd, Robert Morris) argued that their works were not incomplete or theatrical
- Sought to heighten the viewer's awareness of space, materials, and the act of perception itself
- Rejected the notion of art as a vehicle for emotional expression or illusion, focusing on the literal presence of the object
Conceptual Artists' Emphasis on Ideas Over Form
- Conceptual artists (Joseph Kosuth, Lawrence Weiner) prioritized the idea or concept behind the artwork over its formal or material properties
- Challenged traditional notions of artistic skill and craftsmanship, arguing that the intellectual content of the work was paramount
Supporters' Defense of Minimalism and Conceptual Art
- Supporters (Lucy Lippard, John Chandler) defended these movements as legitimate and progressive developments in the history of art
- Argued that Fried and Greenberg's critiques were based on a narrow, formalist understanding of art that failed to account for the broader cultural and intellectual context
- While Fried and Greenberg saw these movements as a threat to the purity and autonomy of the medium, artists and supporters viewed them as a means of expanding the boundaries of art and engaging with the complexities of the modern world
Key Terms to Review (18)
Absorption: Absorption refers to the process through which viewers engage with and immerse themselves in a work of art, often experiencing a deep emotional or intellectual connection. This concept highlights how an artwork can draw an audience into its world, prompting them to contemplate the work's meaning and significance beyond its physical presence. Understanding absorption is crucial in analyzing critiques of certain art movements, particularly those that emphasize viewer interaction and participation.
Anti-formalism: Anti-formalism is an artistic stance that rejects the traditional focus on form and aesthetics in favor of content, context, and conceptual ideas. This approach emphasizes the importance of meaning over the physical attributes of an artwork, encouraging a dialogue about the experience and intentions behind the art rather than its visual presentation. Artists and critics associated with this perspective often challenge established norms and question the role of the viewer in interpreting art.
Art and objecthood: Art and objecthood refers to the philosophical discussion surrounding the nature of art as distinct from ordinary objects, emphasizing the experience of art in relation to its materiality and the context in which it is encountered. This term explores how minimalism and conceptual art challenge traditional notions of art by questioning the significance of the object itself versus the ideas it conveys, particularly in how viewers engage with and perceive these works.
Art as object: Art as object refers to the idea that art should be understood primarily as a physical entity, emphasizing its material presence and aesthetic qualities. This notion challenges the idea of art as a vehicle for meaning or communication, instead focusing on the object itself, its form, and how it occupies space. This perspective is crucial when analyzing critiques from key figures who argue about the role and function of art within minimalist and conceptual movements.
Avant-garde and kitsch: Avant-garde refers to innovative, experimental, and ahead-of-its-time art or ideas that challenge the norms and conventions of society. In contrast, kitsch is characterized by its mass production and superficiality, often appealing to popular taste rather than high artistic standards. These two concepts are often discussed in relation to each other, especially in critiques of contemporary art movements like Minimalism and Conceptual Art, where the tension between high art and low culture comes to the forefront.
Clement Greenberg: Clement Greenberg was a prominent American art critic known for his influential views on modern art, particularly Abstract Expressionism and the development of Minimalism. He advocated for a formalist approach to art, emphasizing the importance of medium and materiality, which shaped the discourse surrounding these movements and their critiques, especially in relation to the evolving role of the art market.
Formalism: Formalism is an artistic approach that emphasizes the visual elements of a work—such as line, color, shape, and composition—over any narrative or representational content. This focus on form over content can lead to a deeper appreciation of the materials and techniques used by the artist, influencing movements such as Minimalism and its reaction to earlier art styles.
Intentionality: Intentionality refers to the quality of being directed toward an object or a purpose. In art, this concept emphasizes the artist's deliberate choices and the meanings behind their creations. It suggests that every aspect of an artwork, from its materials to its context, is imbued with purpose and significance, making it crucial for understanding the intentions behind Minimalism and Conceptual Art.
Interpretative strategies: Interpretative strategies refer to the methods and approaches used to analyze and understand artworks, particularly in how they convey meaning and evoke responses from viewers. These strategies can vary widely, often depending on the cultural, social, and historical contexts surrounding the artwork, influencing how minimalism and conceptual art are perceived and critiqued.
Michael Fried: Michael Fried is an influential American art critic and historian known for his critical writings on Minimalism and Conceptual Art. He gained prominence in the 1960s for his essays that challenged the aesthetic values of modern art, particularly focusing on the relationship between the viewer and the artwork. His ideas have been pivotal in understanding how Abstract Expressionism impacted Minimalism and shaped critiques within the art world.
Modernism: Modernism is a cultural movement that emerged in the late 19th and early 20th centuries, characterized by a deliberate break from traditional styles and values in art, literature, and architecture. It sought to redefine the boundaries of artistic expression, often emphasizing abstraction, experimentation, and a focus on the individual's perspective. Modernism connects to various movements and philosophies that influenced Minimalism and Conceptual Art, shaping their approach to form and meaning.
Postmodernism: Postmodernism is an artistic, cultural, and intellectual movement that emerged in the mid-to-late 20th century, characterized by a skeptical, critical approach to concepts of originality, authority, and meaning. It often embraces paradox, playfulness, and a mixing of styles, challenging established narratives and hierarchies within art and culture.
Presence: Presence refers to the immediate physical and experiential impact of an artwork, particularly in the context of Minimalism and Conceptual Art. It emphasizes how an object or installation can command attention and evoke a direct sensory response from viewers through its form, materiality, and spatial relationships, enhancing the viewer's awareness of the surrounding environment.
Primary Structures: Primary structures refer to the fundamental forms and materials that are used in the creation of minimalist art, emphasizing simplicity, clarity, and the inherent qualities of the materials themselves. This concept is central to understanding both Minimalism and Conceptual Art, as it challenges traditional notions of representation and encourages viewers to engage directly with the artwork's physical presence.
Sculpture in the Expanded Field: Sculpture in the expanded field refers to the concept that redefines traditional notions of sculpture by including a broader range of materials, forms, and contexts in which sculptural practices can occur. This idea emerged in response to Minimalism and Conceptual Art, challenging the boundaries of what can be considered a sculpture and reflecting changes in artistic intent and audience engagement.
Theatricality: Theatricality refers to the quality of being exaggerated or dramatically expressive, often used in art to engage the viewer’s attention and provoke a reaction. This term is significant when discussing how certain forms of art can present themselves in ways that emphasize performance, spectacle, and interaction, as opposed to the more subdued aesthetics found in Minimalism and Conceptual Art.
What constitutes a viewer’s experience?: A viewer's experience refers to the subjective perception and interpretation that an individual has when engaging with a work of art. This experience can be influenced by personal emotions, memories, cultural background, and the physical context in which the artwork is encountered. In the realm of Minimalism and Conceptual Art, the viewer's experience is particularly significant as these movements challenge traditional notions of art and invite active participation from the audience.
What is art?: Art is a diverse range of human activities that involve the creation of visual, auditory, or performance artifacts that express the creator's imagination, conceptual ideas, or technical skill. It serves to communicate ideas, emotions, and experiences, often invoking personal or cultural interpretations. The nature of art has been a subject of ongoing debate, particularly in relation to different movements such as Minimalism and Conceptual Art, which challenge traditional notions of what constitutes art.