Advertisement

“Abstract, Directly Experienced, Highly Simplified, and Self-Contained”: Discourses of Simplification, Disorientation, and Process in the Arts

  • Riikka StewenEmail author
Chapter
Part of the Mathematics, Culture, and the Arts book series (MACUAR)

Abstract

In 1969, Marcel Broodthaers painted one of his very few paintings, Il n’y a pas de Structures Primaires. A Belgian poet, filmmaker, and inventor of new art forms, he is credited as being the first to produce what is now known as institutional critique. The title Il n’y a pas de Structures Primaires refers directly to the groundbreaking exhibition Primary Structures that took place in 1966 at the Jewish Museum in New York, an exhibition that brought contemporary minimalist works out of the closed world of advanced contemporary art and into the public domain [1, pp. 53–64]. In the exhibition catalogue the curator Kynaston McShine described the new minimalist works as “abstract, directly experienced, highly simplified, and self-contained,” pointing out that the structures shown were conceived as “objects” (his quotation marks) and that they rejected all forms of anthropomorphism [1, p. 59].

References

  1. 1.
    Altshuler, Bruce. Biennials and Beyond—Exhibitions That Made Art History 1962–2002. London: Phaidon, 2013.Google Scholar
  2. 2.
    Anti-Illusion: Procedures/Materials. Edited by James K. Monte and Marcia Tucker. New York: Whitney Museum of American Art, 1969. Exhibition catalog.Google Scholar
  3. 3.
    Arasse, Daniel. “Heurs et malheurs de l’anachronisme.” In Histoires de Peintures, Paris: Éditions Denoël/Gallimard, 2004.Google Scholar
  4. 4.
    Aurier, Gabriel-Albert. “Le Symbolisme en Peinture: Paul Gauguin.” Mercure de France, Mars 1891, 165.Google Scholar
  5. 5.
    Bell, Clive. “Post-Impressionism and Aesthetics.” Burlington Magazine, January 1913, 226–230.Google Scholar
  6. 6.
    Bergson, Henri. La Pensé et le Mouvant. Paris: Presses Universitaires de France, 1938.Google Scholar
  7. 7.
    Buchloch, Benjamin. “Open Letters, Industrial Poems.” October 42 (Autumn 1987): 157–181.Google Scholar
  8. 8.
    Cheetham, Mark. “Rhetorics of Purity.” In Essentialist Theory and the Advent of Abstract Painting. Cambridge, UK: Cambridge University Press, 1991.Google Scholar
  9. 9.
    ———. Abstract Art Against Autonomy: Infection, Resistance, and Cure since the 60s. Cambridge, UK: Cambridge University Press, 2006.Google Scholar
  10. 10.
    Clark, T. J. “The Politics of Interpretation.” Critical Inquiry 9, no. 1 (September 1982): 139–156.Google Scholar
  11. 11.
    Denis, Maurice. “La Définition du Néo-traditionnisme.” Art et Critique, 23 août, 1890. Reprinted in Théories 1890–1910, Du symbolisme et de Gauguin vers un nouvel ordre classique, Paris, 1912.Google Scholar
  12. 12.
    Didi-Huberman, Georges. Ce que nous voyons, ce qui nous regarde. Paris: Les Éditions de Minuit, 1992.Google Scholar
  13. 13.
    Gasquet, Joachim. Cézanne. Paris: Bernheim-Jeune, 1926 (1921).Google Scholar
  14. 14.
    Greenberg, Clement. “Modernist Painting,” in The New Art: A Critical Anthology, edited by Gregory Battcock. New York: Dutton, 1966.Google Scholar
  15. 15.
    Hadot, Pierre. Plotinus or the Simplicity of Vision. Translated by Michael Chase. Chicago: University of Chicago Press, 1994.Google Scholar
  16. 16.
    Krauss, Rosalind. “Notes on the Index: Seventies Art in America.” October 3 (Spring 1977): 68–81.Google Scholar
  17. 17.
    Krauss, Rosalind, Denis Hollier, Annette Michelson, Hal Foster, Silvia Kolbowski, Martha Buskirk, and Benjamin Buchloch, “The Reception of the 60s.” October 69 (Summer 1994): 3–21.Google Scholar
  18. 18.
    Lichtenstein, Jacqueline. The Eloquence of Color, Rhetoric and Painting in the French Classical Age. Berkeley: University of California Press, 1993.Google Scholar
  19. 19.
    Merleau-Ponty, Maurice. “The Philosopher and His Shadow,” in Signs. Evanston, IL: Northwestern University Press, 1964.Google Scholar
  20. 20.
    Clark, T. J.. The Visible and the Invisible. Translated by Alphonso Lingis. Evanston, IL: Northwestern University Press, 1968.Google Scholar
  21. 21.
    Clark, T. J.. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge & Kegan Paul, 1986.Google Scholar
  22. 22.
    Michelson, Annette. “Robert Morris: An Aesthetics of Transgression.” In Robert Morris, Corcoran Gallery, Washington D.C., 1969.Google Scholar
  23. 23.
    Mitchell, W.T.J. Picture Theory, Essays in Verbal and Visual Representation. Chicago: University of Chicago Press, 1994.Google Scholar
  24. 24.
    Morris, Robert. “The Labyrinth and the Urinal.” Critical Inquiry 36, no. 1, Autumn 2009.Google Scholar
  25. 25.
    Mitchell, W.T.J.. “Notes on Sculpture.” Reprinted in Minimal Art: A Critical Anthology, edited by Gregory Battcock. Berkeley: University of California Press, 1995 (1968).Google Scholar
  26. 26.
    Nagel, Alexander and Christopher S. Wood. Anachronic Renaissance. Cambridge, MA: MIT Press, 2010.Google Scholar
  27. 27.
    Owens, Craig. “The Allegorical Impulse: Toward a Theory of Postmodernism.” October 12 (Spring 1980): 67–86.Google Scholar
  28. 28.
    Pollock, Griselda and Fred Orton. Avant-Gardes and Partisans Reviewed. Manchester, UK: Manchester University Press, 1997.Google Scholar
  29. 29.
    Richard Serra: Forty Years. Edited by Kynaston McShine and Lynne Cooke. New York: Museum of Modern Art, 2007. Exhibition catalog.Google Scholar
  30. 30.
    The Spiritual In Art: Abstract Painting, 1890–1985. Edited by Maurice Tuchman, Judi Freeman and Carel Blotkamp. New York: Abbeville Press, 1986. Exhibition catalog.Google Scholar

Copyright information

© Springer International Publishing AG 2017

Authors and Affiliations

  1. 1.University of the Arts HelsinkiHelsinkiFinland

Personalised recommendations