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008			000901s2001 ctua b 001 0 eng d
010			_a 00043972
011			_aZ3950 Search: @attr 1=7 "9780300105902"
011			_aZ3950 Record: 0 of 13
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020			_a9780300105902 _qpaper
035			_a(OCoLC)45002105
037			_bYale Univ Pr, C/O Triliteral Llc 100 Maple Ridge Dr, Cumberland, RI, USA, 02864-1769, (401)6584226 _nSAN 631-8126
040			_aDLC _beng _erda _cDLC _dUKM _dNLGGC _dBAKER _dBTCTA _dYDXCP _dHEBIS _dEXW _dYUS _dCUK _dOCLCF _dIG# _dOCLCQ _dOCL _dEUN _dOCLCO _dOCLCA _dSFR _dCSJ _dDHA _dCPO _dAU@ _dDCT _dZ5A _dATU
042			_apcc
043			_an-us---
050	0	0	_aN6512.5.M5 _bM49 2001
082	0	0	_a709.7309046 _221
099			_a709.7309046 MEY
100	1		_aMeyer, James Sampson, _d1962- _eauthor. _9397274
245	1	0	_aMinimalism : _bart and polemics in the sixties / _cJames Meyer.
264		1	_aNew Haven : _bYale University Press, _c[2001]
264		4	_c©2001
300			_aviii, 340 pages : _billustrations (some colour) ; _c27 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0	0	_tA minimal field -- _tMinimal polemics -- _tSpring 1966 -- _tA tour of "Primary Structures" -- _t1959-1962 -- _tThe early years -- _t1963 -- _tThe emergence of Judd and Morris -- _tTruitt at Andre Emmerich -- _t1964 -- _tIntroduction to the "minimal" 1: "Black, White, and Gray" -- _tIntroduction to the "Minimal" 2: "Everyman's Infinite Art"; Di Suvero's Attack -- _tIntroduction to the "minimal" 3: the art student's doubt -- _tFlavin, Judd, and Stella interviewed -- _tEnter Flavin; "Eleven Artists" -- _t"8 Young Artists" -- _tMorris's plywood show -- _t1965 -- _t"Shape and Structure: 1965": the fight for Stella's "Soul" -- _tAndre's styrofoam show: Sculpture-as-Place -- _t"Specific Objects" -- _t"Minimal Art" and "ABC Art": popularization of the "minimal" -- _t1966 -- _tMorris's "Notes on Sculpture" -- _tThe serial attitude: Judd at Castelli, "Systemic Painting," and the Finch Shows -- _tSeriality as negation -- _tAndre's brick show -- _tLeWitt at the Dwan Gallery: displacement into conceptualism -- _t1967: The Critiques of Greenberg and Fried -- _t"Recentness of Sculpture": minimalism and "Good Design" -- _tThe case for Truitt: minimalism and gender -- _tThe aesthetics of doubt: "Art and Objecthood" -- _t1968: Canonization/Critique -- _tJudd's Whitney show and Battcock's anthology -- _t"The Art of the Real: USA 1948-1968" and the reception abroad -- _t"Minimal Art," "Anti Form," and the social critique of minimalism.
520			_aThis volume shows how artists as diverse as Carl Andre, Donald Judd, Robert Morris, and Anne Truitt came to be designated as minimalists during a series of exhibitions in the 1960s. Minimalism describes movements in various forms of art and design where the work is stripped down to its most fundamental features. The author attempts to make sense of minimalism as an artistic moment. He points out that, at first, the term "minimalism" was derogatory, implying that the art was too reduced and abstract. In the late '60s, the label lost its stigma as the work was widely recognized by major museums, and minimalist art headed toward canonization. This work analyzes that process as well as the backlash against minimalism by leftists, especially in Europe, who associated it with American cultural imperialism. It also places minimalist art in a broader cultural context, noting the stripped-down, austere sensibility that prevailed in '60s fashion and design.
588			_aMachine converted from AACR2 source record.
650		0	_aMinimal art _zUnited States. _9590853
650		0	_aArt, American _y20th century. _9314057
776	1	8	_w(OCoLC)45852884 _w(OCoLC)150843938 _w(OCoLC)491355587 _w(OCoLC)894130820 _w(OCoLC)898057772 _w(OCoLC)1008528982
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