Sure, New Yorkers artists from the 60s, grouped under the label unwillingly minimalism, rejected bo

Date: August 12, 2012 Author: Movie Menu Category: Essay Tags: Andy Warhol, Blow Jobs, Carl Andre, brown paper background Chelsea Girls, Clement Greenberg, Donald Judd, Empire, Film Menu, Flaming Creatures, Irina Trocan, Jack Smith, Jasper Johns, Michael Fried, minimalism, My Hustler, pop art, Richard Wollheim, Robert Morris, Screen Tests, Sleep, The Silver Factory Navigation article
Because there's so much to say about Andy Warhol, I try to limit myself to a single statement questioning: Andy Warhol is a minimalist filmmaker. But I have two major problems. First, the features of minimalism - current emerged in the 60s in the visual arts and music - they have never been clearly defined. Secondly, Warhol's career in film depends underground than his fame and his artistic freedom, brown paper background and then becomes important in the formation of fine arts, where his works were not falling in minimalism, but in pop art. Although complicated explanation I can not talk about Andy Warhol's films without antecedent mention the 100 quasi-identical brown paper background paintings of Campbell's soup cans. On the other hand, it seems quite obvious that Warhol's minimalist director: if the label exists and must be applied, brown paper background anyone brown paper background filming a building for eight hours in a frame fixed term and should merit it unreservedly.
Let's start this way: minimalist art was analyzed by critics and so-named because, above all, its status as art had to be defended. brown paper background Minimalist works of fine art hardly seemed to have a place in a museum (though you will immediately see, that's the idea). brown paper background In an essay in 1965 called "Minimal Art", the philosopher and art critic Richard Wollheim - otherwise inclined, temperamental, to traditional art forms - talking about the minimum conditions that must meet an object to be processed that work of art . In classical painting, all details must be harmonized into a unified whole - but this is not a universal rule applies brown paper background to art. The abstract expressionism (represented by painters like Jackson Pollock and Willem de Kooning), blade must be fascinating all over - but not every work of art should be surprising everywhere. Constantin brown paper background Brancusi - an important influence for artists minimalists - said that his goal is to capture the essence sculptures - the intrinsic nature of objects; brown paper background This meant, for him, realism in art.
Sure, New Yorkers artists from the 60s, grouped under the label unwillingly minimalism, rejected both the idea that their aesthetic -Principles are a group were different, and many of them do not know the works of others - and the term "minimalism". In a 1965 essay, "Specific Objects", Donald Judd, artist and critic, says: "More than half of the best new works of recent years have not been any paintings or sculptures. Usually they related, nearly brown paper background or remotely, with one or another. Artistic production is diverse brown paper background and substantial part of it, which is not of painting nor the sculpture is just as diverse. But there are some things that happen brown paper background close together. "The new work, says Judd, will not challenge the value of painting and sculpture before, but to expand the limits of art in new directions. Judd characterizes his works as "a simple expression of complex thought". The format of "sculpture" brown paper background that uses most often: a stack of colored plexiglass boxes, one above the other fixed to the wall at a distance - a "specific purpose" which is perceived differently by different viewers, depending on their height and the angle from which it contemplates; thus, the viewer not only focuses on the object looked but starts to become aware of your own body, his presence in the room of the museum. And if all of a Donald Judd works must not be more than the sum of its parts, each part is important, as well as material that is made (or, if a sculpture by Rodin, for example, you will not hear too often about discussing the marble.)
Robert Morris, Judd contemporary brown paper background artist, talks about the difference between "known constant" (a cube is identified by the viewer as a cube) and "variable levy" (a cube viewer never sees in its entirety, but only part of it) . For "Three L-Beams" Morris exhibited in the gallery three identical brown paper background objects - pairs of beams welded at right angles - stabilized on the floor in different positions that roughly resembles a bench, a chair or a bow; although they have the same shape, a viewer perceives them differently.
Minimalist art often uses large objects; in extreme cases, their processing is done by industrial processes. "A Matter of Time" - by Richard Serra, an artist who worked in a steel factory before exposing galleries - is a monolithic construction