Asian History

Asian History

Chapter 5: Modernism in Retreat: Minimalist Aesthetics and Beyond   - After Modern Art

As more artists crossed boundary lines unaddressed by Modernism, their creations began to be indefinable. This was a dilemma for critics because there was no benchmark for which they could parallel how the artist accomplished defined criteria. Therefore, critics reacted negatively or continued to ‘fit’ the art into the Modernist mold. As the 1960’s unfolded, deviations from Modernism, or in opposition to it, continued in evolving trajectories. These new paths demanded new benchmarks. Artists such as Ad Reinhardt embraced most Modernist ideals yet rejected Abstract Expressionism. Frank Stella moved from Modernist ideal of paint on a canvas as the art to the concept of the canvas itself as an object and therefore the ‘painting.’   New benchmarks and terms were used such as Minimalism, non-relational, object-hood, and anti-form. Robert Morris stressed that a sculpture’s form would come from the process.

The concept of having a staff such as Frank Stella and Andy Warhol employed to handle public demands for their work kind of established them as a ‘design house’ much like a fashion designer like Ralph Lauren or Vera Wang. However, they may have done it reactively rather than proactively since this was new to the art realm. Nonetheless, it was a smart business decision, which is not often the case with artists.

Regarding the Column performance by Robert Morris: Would the audience have known what to expect of this exhibition and what might have been charged for admission? Would a wealthy donor have underwritten Column?

Chapter 6 – The Death of the Object: The Move to Conceptualism, After Modern Art

Art in the late 1960’s continues to move in new directions. Opposition to current circumstances in politics and popular culture had come under attack. The personal philosophies of the artists began to become paramount. Art became a platform for viewpoints. Conceptualism...