4.6 Process art
8 min read•august 21, 2024
emerged in the late 1960s as a reaction to formalism, emphasizing the creative journey over the final product. It challenged conventional notions of art as a static object, embracing unpredictability and chance in artistic outcomes.
Key artists like , , and pioneered techniques using unconventional materials. Process art prioritized the act of creation, rejected the idea of a finished product, and explored the inherent qualities of various materials.
Origins of process art
- Emerged in the late 1960s as a reaction to formalism and traditional art-making practices
- Emphasized the creative journey and artistic decision-making over the final product
- Challenged conventional notions of art as a static, completed object
Influences from abstract expressionism
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- Inherited gestural techniques and emphasis on spontaneity from Abstract Expressionism
- Expanded on Jackson Pollock's methods (drip paintings)
- Embraced the idea of art as a record of the artist's physical movements and decisions
Reaction against minimalism
- Rejected 's focus on geometric forms and industrial materials
- Sought to reintroduce organic shapes, textures, and unpredictable outcomes
- Emphasized the importance of the artist's hand and subjective choices in art-making
Key artists and pioneers
- Robert Morris pioneered sculptures using felt and other soft materials
- Eva Hesse experimented with unconventional materials like latex and fiberglass
- Richard Serra explored the properties of molten lead in his "splashing" works
- created floor sculptures using poured latex and foam
Characteristics of process art
- Prioritizes the act of creation over the finished artwork
- Embraces unpredictability and chance in artistic outcomes
- Challenges traditional notions of permanence and stability in art
Emphasis on artistic process
- Focuses on the methods, techniques, and decision-making involved in creating art
- Often incorporates documentation of the artistic process as part of the work
- Encourages viewers to consider the journey of creation rather than just the end result
Rejection of finished product
- Challenges the idea of art as a permanent, static object
- Embraces imperfection, decay, and change as integral aspects of the artwork
- Often results in ephemeral or temporary installations that evolve over time
Materials and their properties
- Explores the inherent qualities and behaviors of various materials
- Utilizes non-traditional art materials (industrial materials, organic substances)
- Allows materials to dictate form and composition through their natural properties
Temporality and impermanence
- Incorporates elements of time and change into the artwork
- Creates pieces that may deteriorate, transform, or disappear over time
- Challenges the notion of art as a commodity by creating works that cannot be easily preserved or sold
Techniques and methods
- Emphasizes unconventional and experimental approaches to art-making
- Explores the physical properties and behaviors of various materials
- Often involves repetitive actions or chance-based processes
Pouring and dripping
- Utilizes gravity and fluid dynamics to create organic forms and patterns
- Artists like Lynda Benglis poured latex directly onto gallery floors
- Jackson Pollock's drip painting technique influenced later process artists
Staining and soaking
- Involves saturating materials with pigments or other substances
- Helen Frankenthaler pioneered the "soak-stain" technique in painting
- Allows for unpredictable color interactions and material transformations
Folding and crumpling
- Explores the sculptural potential of flexible materials
- Robert Morris created large-scale felt pieces through folding and hanging
- Challenges traditional notions of sculpture as rigid or stable
Found object manipulation
- Incorporates everyday items or discarded materials into artworks
- Artists like Robert Rauschenberg used in his "Combines"
- Blurs the line between art and everyday life, questioning the nature of artistic materials
Conceptual underpinnings
- Challenges traditional notions of art as a finished, marketable product
- Explores the relationship between artist, material, and viewer
- Questions the role of intentionality and control in artistic creation
Anti-form philosophy
- Rejects predetermined, geometric forms in favor of organic shapes
- Embraces the natural tendencies of materials to determine their own form
- Challenges the idea of the artist as a master craftsman imposing form on materials
Dematerialization of art object
- Shifts focus from the physical artwork to the ideas and processes behind it
- Aligns with broader movements of the 1960s and 1970s
- Challenges the commodification of art by creating works that resist easy collection or display
Chance and indeterminacy
- Incorporates elements of randomness and unpredictability into the artistic process
- Draws inspiration from John Cage's use of chance operations in music
- Challenges the notion of the artist as sole creator by allowing external factors to shape the work
Artist as facilitator
- Redefines the artist's role from creator to initiator of processes
- Emphasizes collaboration between artist, materials, and environment
- Challenges the romantic notion of the artist as a solitary genius
Notable works and exhibitions
- Showcased groundbreaking approaches to art-making in the 1960s and 1970s
- Challenged traditional gallery and museum presentation methods
- Influenced subsequent generations of artists and curators
Richard Serra's lead splashes
- Created by throwing molten lead into gallery corners (Splash Piece: Casting, 1969-70)
- Explored the properties of lead as it cooled and solidified
- Blurred the line between sculpture, performance, and installation
Eva Hesse's latex sculptures
- Utilized industrial materials like latex and fiberglass (Contingent, 1969)
- Created forms that appeared organic and bodily despite their synthetic origins
- Explored themes of impermanence and decay through materials that deteriorated over time
Robert Morris's felt pieces
- Large-scale sculptures made from industrial felt (Untitled, 1967-68)
- Allowed gravity and the material's properties to determine the final form
- Challenged traditional notions of sculpture as rigid and permanent
Process art in documenta 5
- Influential 1972 exhibition in Kassel, Germany, curated by Harald Szeemann
- Featured works by process artists alongside conceptual and performance art
- Helped establish process art as a significant movement in contemporary art
Legacy and influence
- Expanded the definition of what could be considered art
- Influenced subsequent movements in contemporary art practice
- Continues to shape discussions about materiality and artistic process
Impact on contemporary art
- Inspired artists to explore unconventional materials and techniques
- Influenced the development of installation art and site-specific works
- Encouraged a more experimental and process-oriented approach to art-making
Relationship to performance art
- Blurred the boundaries between visual art and performance
- Emphasized the importance of the artist's actions and gestures
- Influenced the development of body art and happenings
Process art vs conceptual art
- Shared emphasis on ideas and dematerialization of the art object
- Process art retained a stronger focus on materiality and physical engagement
- Both movements challenged traditional notions of artistic skill and craftsmanship
Critique of commercialization
- Resisted the commodification of art by creating works difficult to collect or sell
- Challenged the art market's focus on permanent, saleable objects
- Influenced later critiques of the art world's economic structures
Critical reception
- Initially met with skepticism from traditional art critics and institutions
- Gradually gained recognition and support from theorists and curators
- Continues to be debated and reinterpreted in contemporary art discourse
Initial skepticism and controversy
- Many critics struggled to understand and evaluate process-based works
- Challenged traditional criteria for judging artistic merit and skill
- Some viewed process art as a rejection of aesthetic values and craftsmanship
Theoretical support and analysis
- Art theorists like Rosalind Krauss provided critical frameworks for understanding process art
- Lucy Lippard's concept of the "dematerialization of the art object" helped contextualize the movement
- Philosophers like Gilles Deleuze influenced interpretations of process and becoming in art
Feminist interpretations
- Some critics saw process art's emphasis on fluidity and impermanence as aligned with feminist thought
- Artists like Eva Hesse and Lynda Benglis explored themes of the body and gender through process-based works
- Challenged male-dominated narratives of artistic genius and mastery
Institutional acceptance
- Major museums began acquiring and exhibiting process art in the 1970s and 1980s
- Curatorial practices evolved to accommodate ephemeral and time-based works
- Process art influenced art education and studio practices in academic institutions
Process art in different media
- Extended beyond traditional sculpture to encompass various artistic disciplines
- Encouraged cross-pollination between different media and techniques
- Challenged medium-specific boundaries in art
Sculpture and installation
- Expanded the definition of sculpture to include soft, malleable materials
- Emphasized site-specificity and the relationship between artwork and environment
- Incorporated elements of time and change into three-dimensional works
Painting and drawing
- Explored unconventional application techniques (pouring, staining, dripping)
- Emphasized the physical properties of paint and other materials
- Blurred the line between painting and sculpture through relief-like surfaces
Photography and film
- Documented ephemeral process-based works and performances
- Explored the chemical and physical processes of image-making
- Used time-based media to capture and represent artistic processes
Digital and new media
- Adapted process art concepts to digital technologies and software
- Explored generative art and algorithmic processes
- Incorporated elements of interactivity and user
Global perspectives
- Developed differently across various cultural and geographical contexts
- Influenced and was influenced by non-Western artistic traditions
- Continues to evolve in response to global cultural exchanges
American vs European process art
- American artists often emphasized materiality and scale (Richard Serra, Robert Morris)
- European artists tended to incorporate more conceptual and philosophical elements (Arte Povera movement)
- Both traditions influenced each other through international exhibitions and artist exchanges
Non-Western interpretations
- Japanese Mono-ha movement shared similarities with process art (emphasis on materials and impermanence)
- Latin American artists incorporated process-based approaches into politically engaged practices
- African and Asian artists adapted process art concepts to explore local materials and traditions
Process art in art education
- Influenced studio art curricula in universities and art schools
- Encouraged experimentation and risk-taking in artistic practice
- Challenged traditional notions of skill and technique in art education
Contemporary relevance
- Continues to influence contemporary art practices and theories
- Adapts to new technological and cultural contexts
- Addresses current social and environmental concerns through process-based approaches
Neo-process art movements
- Contemporary artists revisit and reinterpret process art techniques
- Incorporates new materials and technologies into process-based works
- Explores the intersection of digital and physical processes in art-making
Ecological and sustainable practices
- Process artists increasingly focus on environmental themes and materials
- Explores biodegradable and recycled materials in artistic processes
- Addresses issues of waste, consumption, and environmental impact through art
Process art in the digital age
- Adapts process-based approaches to digital and virtual environments
- Explores the materiality of digital media and data
- Investigates the role of algorithms and artificial intelligence in artistic creation
Key Terms to Review (24)
Action Painting: Action painting is an art movement characterized by spontaneous, vigorous brushwork and the physical act of painting itself, often emphasizing the artist's gesture and emotional expression over representational accuracy. It emerged in the mid-20th century and is closely associated with the New York School, where artists sought to create dynamic artworks that were as much about the process of creation as they were about the final product.
Anti-form: Anti-form refers to an artistic approach that challenges traditional notions of structure and form, emphasizing process, chance, and the materiality of the artwork. It often results in works that appear unfinished or in a state of flux, reflecting a rejection of the conventional aesthetics of perfection and stability. This concept connects closely with movements that prioritize the act of making over the final product, promoting ideas of impermanence and transformation.
Anti-object art: Anti-object art refers to a movement in which artists deliberately reject the traditional notion of art as a physical object. Instead, this approach emphasizes the process and experience of creation over the final product, challenging the commodification of art. The focus is on the act of making and the ideas behind the work, rather than producing an object for display or sale.
Art as process: Art as process refers to a movement in which the act of creating art is emphasized over the final product. It focuses on the methods and experiences involved in making art, allowing the viewer to appreciate the journey of creation rather than just the finished piece. This approach challenges traditional notions of art as a static object, promoting an understanding of art as a dynamic and evolving experience.
Art in the streets: Art in the streets refers to public artistic expressions that occur outside traditional art venues, such as galleries and museums. This form of art often encompasses graffiti, murals, and installations that engage directly with the urban environment, reflecting social issues, cultural narratives, and community identities. By bringing art into public spaces, artists invite dialogue and participation from a broader audience, breaking down barriers between art and everyday life.
Artist as facilitator: The concept of the artist as facilitator refers to the role of artists who create environments or frameworks that enable participation, collaboration, and interaction among individuals or communities. This approach shifts the focus from traditional art-making to the processes of engagement, where the artist becomes a guide or enabler in the creative experience.
Chance and indeterminacy: Chance and indeterminacy refer to the concepts of unpredictability and randomness in art-making processes, where the artist allows external factors to influence the creation of the artwork. This approach encourages spontaneity and often results in outcomes that cannot be predetermined, emphasizing the role of chance in artistic expression. Artists embracing these ideas often aim to challenge traditional notions of control and authorship, exploring how unpredictable elements can lead to innovative and unexpected results.
Conceptual Art: Conceptual art is an artistic movement where the idea or concept behind the work is prioritized over the aesthetic or material aspects of the artwork. This approach emphasizes intellectual engagement and often challenges traditional definitions of art, inviting viewers to reconsider the relationship between art, meaning, and experience.
Dematerialization of art object: Dematerialization of the art object refers to the process where the physical form of art becomes less important than the ideas and concepts behind it. This shift emphasizes experiences, interactions, and the ephemeral nature of art rather than traditional, tangible artworks. The focus is on the act of creation and the viewer's engagement, leading to a broader understanding of what art can be.
Eva Hesse: Eva Hesse was a pioneering American artist known for her significant contributions to Post-Minimalism and Process art in the 1960s. Her innovative use of materials, including latex and fiberglass, challenged traditional sculpture and emphasized the process of creation itself, embodying a sense of impermanence and emotional depth. Hesse's work often explored themes of vulnerability and the human condition, making her a central figure in the evolution of contemporary art.
Fluxus: Fluxus is an art movement that emerged in the early 1960s, emphasizing the interconnectedness of art and life through performances, events, and the use of everyday materials. It sought to break down barriers between high art and popular culture, promoting spontaneity and collaboration as essential elements in artistic expression.
Found objects: Found objects are everyday items that artists repurpose or incorporate into their work to create new meaning and challenge traditional concepts of art. This approach emphasizes the value of ordinary materials, transforming them into significant pieces through context and presentation. Found objects can highlight themes of appropriation, materiality, and the intersection of art and life.
Institutional critique: Institutional critique is an art practice that examines and challenges the power structures, policies, and ideologies of art institutions, such as galleries and museums. This approach questions the traditional roles of these spaces, prompting discussions about their influence on artistic production and the broader cultural context. Artists engaged in institutional critique often highlight issues of representation, access, and the commodification of art.
Interaction: Interaction refers to the dynamic engagement between an artwork and its audience, where the viewer's participation can influence or alter the experience of the piece. This concept highlights the importance of the relationship between the art and those experiencing it, emphasizing that meaning can be co-created through this engagement. It suggests that art is not just a static object but a living process shaped by various influences, including viewer input and context.
Lynda benglis: Lynda Benglis is an influential American artist known for her work that challenges traditional notions of femininity and the role of women in the art world. Her practice often involves unconventional materials and forms, emphasizing bodily engagement and process, which connects her to the broader movement of Process Art. Benglis's work reflects a radical departure from established art practices, inviting viewers to consider the physicality of art-making and its relationship to gender.
Minimalism: Minimalism is an art movement that emerged in the late 1950s and emphasizes simplicity and the reduction of elements to their essentials, often using geometric forms and industrial materials. This approach reflects broader themes in contemporary culture, particularly in relation to mass media and consumerism, where the focus is on the object itself rather than extraneous details or narratives.
Participation: Participation refers to the active involvement of individuals in the creation and experience of art, where the audience is not just a passive observer but becomes an integral part of the artwork itself. This concept emphasizes the relationship between the artwork and its viewers, encouraging interaction, collaboration, and shared experiences that challenge traditional notions of authorship and the role of the artist. Through participation, art becomes a dynamic process that can transform both the work and the individual, often leading to new interpretations and understandings.
Performative actions: Performative actions refer to art practices that emphasize the act of performance itself as a medium of expression and exploration, often blurring the lines between artist, artwork, and audience. These actions can involve various forms of engagement, including bodily movement, improvisation, and spontaneous creation, where the process and experience take precedence over the final product. This concept connects to notions of time, presence, and the ephemeral nature of art.
Postmodern critique: Postmodern critique refers to the examination and questioning of established narratives, ideologies, and structures, particularly those associated with modernism. This approach often highlights the fragmented nature of reality, embracing paradox and ambiguity while rejecting universal truths. In various forms of art and philosophy, postmodern critique challenges the assumptions and values of previous eras, emphasizing the subjective experience and the multiplicity of perspectives.
Primary Structures: Primary structures refer to the fundamental components or basic forms used in the creation of a work of art, emphasizing their intrinsic qualities and materials. This concept connects to the idea that the art itself should be an exploration of its construction and medium, rather than merely a representation of external subjects or narratives.
Process art: Process art is an artistic movement that emphasizes the act of creating art as an essential part of the artwork itself, rather than focusing solely on the finished product. This approach values the methods and materials used in the creation process, encouraging artists to explore spontaneity, experimentation, and the physicality of materials, often resulting in artworks that reflect their own making. The significance of process art lies in its challenge to traditional notions of art as a static object, inviting viewers to engage with the creation experience.
Richard Serra: Richard Serra is a renowned American artist known for his large-scale sculptures and installations that often utilize industrial materials such as steel and lead. His work explores the relationship between space, viewer, and environment, emphasizing the physicality of materials and their interaction with surrounding areas, making site-specificity a central theme in his practice. Serra's art can also be situated within the realm of Post-Minimalism, where he moves beyond traditional forms to engage with process art that reflects on the act of creation itself.
Robert Morris: Robert Morris was a pivotal figure in Post-Minimalism, known for his contributions to the dematerialization of the art object and process art. His work often emphasized the physicality of materials and the importance of the viewer's experience, challenging traditional notions of sculpture and artwork. Morris's approach led to a deeper understanding of how art could engage with space and the viewer, making him a key influence in these movements.
The New Realism: The New Realism refers to an artistic movement that emerged in the mid-20th century, emphasizing the depiction of contemporary life with a focus on everyday experiences and materials. This movement sought to challenge traditional aesthetics by incorporating elements from popular culture and rejecting the idealized representations common in previous art styles. By embracing ordinary subjects and innovative techniques, The New Realism paved the way for a deeper exploration of social and political themes within art.