The effects and influence of minimalism--the art movement in which artists removed personal expression and decorative detail from their work--continue to be felt today as art produced by its proponents continues to be exhibited and artists continue to use the style. The great movements of modern art, among them Impressionism, Surrealism, Cubism, and Abstract Expressionism, have challenged rather than accommodated critics and public. None more so than Minimalism, which unrelentingly questioned not only the nature of art, ...
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The effects and influence of minimalism--the art movement in which artists removed personal expression and decorative detail from their work--continue to be felt today as art produced by its proponents continues to be exhibited and artists continue to use the style. The great movements of modern art, among them Impressionism, Surrealism, Cubism, and Abstract Expressionism, have challenged rather than accommodated critics and public. None more so than Minimalism, which unrelentingly questioned not only the nature of art, but also the place of art in society-especially the capitalist society of the United States. Beginning in the 1960s, artists like Frank Stella, Donald Judd, Carl Andre, Dan Flavin, Sol LeWitt, Robert Morris, Robert Smithson, Walter De Maria, Richard Serra, Keith Sonnier, Eva Hesse, Robert Grosvenor, and Joel Shapiro reacted against what they saw as the flamboyance of Abstract Expressionism, seeking instead materials, forms, and procedures that explicitly do not convey the personal touch of the fabricator. Many observers have judged the artworks that resulted obstinately cerebral and unapproachable-or, worse, barren beyond the point of tedium. Others have recognized that these works are, in fact, revolutionary, embodying an elemental immediacy unprecedented in Western art. Giving no quarter to complacent illusion and habits of perception, the Minimalists pushed aesthetic thought deeply into the crust of unexamined ideas that most of us take for granted as cultural terra firma. In this volume, illustrated with works ranging from small-scale sculpture and hermetic paintings to vast "earthworks," Kenneth Baker, the award-winning art critic of the San Francisco Chronicle, explores the history and challenge of Minimalism in the context not only of the trends it succeeded, but of those that have succeeded it. Minimalism: Art of Circumstance is one of those rare essays of critical insight that combine a comprehensive point of view with a revisionist spirit; for, in unfolding the history of his subject, Baker finally challenges the very notion of a "minimalist movement." The result is provocative, and in today's wildly pluralistic post-modern art world, this volume is living history-in fact, required reading. Art critic for the San Francisco Chronicle, Kenneth Baker publishes in all the major journals, including Art in America, Artforum, Architectural Digest, Connoisseur, The Atlantic, The New York Times, and many others. He has received the Manufacturers Hanover Trust-Art World Award for Distinguished Newspaper Art Criticism (1985) and his Minimalism studies have been supported by the Dia Foundation. Baker has taught at Brown University, Rhode Island School of Design, and Boston College. 128 illustrations
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. Book contains pencil markings. In fair condition, suitable as a study copy. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 1100grams, ISBN: 089659887X.
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. Clean from markings. In good all round condition. Dust jacket in fair condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 1100grams, ISBN: 9780896598874.
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Good. Good condition. Good dust jacket. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included.
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Very good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!
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Used-Very Good. Beginning in the 1960s, artists like Frank Stella, Donald Judd, Carl Andre, Dan Flavin, Sol LeWitt, Robert Morris, Robert Smithson, Walter De Maria, Richard Serra, Eva Hesse, and Joel Shapiro reacted against the flamboyance and self-indulgence of Abstract Expressionism by pursuing materials, forms, and procedures that remove the personal mark of the fabricator The art they produced has been called obstinately cerebral and unapproachably cold by some, but revolutionary by others, who recognized an unprecedented immediacy in it. This book examines how the Minimalists removed illusion and habits of perception from their art, essentially starting with nothing, and forced viewers to do the same. Illustrated with works ranging from small-scale sculpture to massive earthworks, the text traces the trends Minimalism succeeded, as well as those that succeeded it. The result is comprehensive critical history of one of the century's most important and long-lived art movements. In the 1960's art world, in response to the flamboyant self-indulgence of Abstract Expressionism, there arose a cold, bare-bones art form called Minimalism. Using examples ranging from small-scale sculpture to massive earthworks, San Francisco art critic Kenneth Baker traces the history of one of the century's most important and long-lived art movements.128 illus. 48 in color. Very nice clean, tight copy free of any marks. wrapped in complimentary Brodart dust jacket protector...
