Minimalism comprises one of the key movements in post-war art. The
term 'minimalism' was coined to describe the work of a group of
American artists who, in the 1960s, produced a decidedly
unexpressionistic, reductive work with a hard industrial feel.
While numerous minimalist painters exist, among them Robert Ryman,
Robert Mangold and Brice Marden, most of the key Minimalists -
Andre, Flavin, Judd, LeWitt and Morris - produced sculptures or, as
some put it, 'specific objects' or 'objects in a world of objects'.
Although none of the artists actually accepted the term
'Minimalism', their common use of serial, modular or repeating
forms (from Carl Andre's floor sculptures of readymade bricks or
Judd's stacked boxes) as well as the abstraction and industrial
production of the work, drew these artists' work together. As
opposed to the vulgar and populist Pop Art, Minimalism, like
conceptualism, considered itself 'high art'. These artists' aim was
to create an art that was non-hierarchical (no single part of the
work takes precedence over any other) and thus entirely democratic.
With direct access to many of the artists' archives, this book is
the most comprehensive and definitive sourcebook on Minimalism
available. Survey: critic and art historian James Meyer, a leading
authority on Minimalism, examines the movement from its beginnings
to its broader cultural influence. Works: this title provides an
extensive colour plate section with extended captions for every
artwork. The excellent selection of images illustrates the
surprising variety of work, and also relates it to other artists
such as Eva Hesse and Robert Smithson.