#Modern abstrct minimalist artists install#

Commenting on high art in the materials of low culture and advertising, it sets up a clash that questions old assumptions about the purpose of art and artists, like are artists just ordinary salesmen? One might say that the piece is Post-Minimalist simply by virtue of standing at the borders of so many different styles and approaches of the period, borrowing from Pop art's interest in advertising, and Conceptual art's interest in language. Its colorful, circular text proclaims the words of the title: 'The True Artist Helps the World by Revealing Mystic Truths.' It is characteristic of Nauman's early neon works, and typical of the tone of dry satire in much of his oeuvre. It acts as an advertisement of a different kind. This seminal work was created in the studio Nauman established in an abandoned grocery store in San Francisco and modeled after the neon advertisement signs nearby. Others took artwork into the natural environment in the Land art movement.ġ967 The True Artist Helps the World by Revealing Mystic Truths, (Window or Wall Sign) This led to a new interest in the relationship between the artwork and its site, called Site-Specificity.

#Modern abstrct minimalist artists install#

Some artists also took the cue to get out of the gallery and install art in new environments.Others believed in a more expanded sense of technique that encompassed the artist's processes, the materials and even the way gravity operates on materials. Some believed that the chosen material should govern the character of the art object.

Many Post-Minimal artists admired Minimalism's break with conventional formats of painting and sculpture, wanting to investigate new limits or traditions in the making of art.They also rejected the movement's mood and rhetoric, often perceived as cold, over-intellectual and even authoritarian, responding with sculptures of more expressive qualities, often evoking the body and aspects of sexuality. Some Post-Minimalists shared the Minimalists' interest in abstraction and materiality, yet rejected their preoccupation with industrial materials.To distinguish it from Minimalism's perceived concern with form and composition, this is referred to as 'anti-form.' They presented material in ways that seemed unprocessed or uncomposed, or the material drooped and sagged, clearly governed more by the character of the material rather than the artist's intentions. Instead of using industrial materials and impersonal methods of fabrication to achieve this, they used other strategies. Some Post-Minimal artists were interested in extending Minimalism's interest in anonymity and in emptying artwork of the artist's personal expression.

While the formal and theoretical interests of this period are no longer so influential, many of the themes and strategies of Post-Minimal artists remain very current, making it one of the most enduring styles of the last half-century. But other Post-Minimalists pursued very different goals: many reacted against the earlier movement's impersonality, trying to invest sculpture once again with emotionally expressive qualities.

Some artists associated with this tendency sought to extend the Minimalists' interest in creating art objects that do not have the representational function of traditional sculpture, objects that are abstract, anonymous in appearance, and have a strong material presence. Post-Minimalism refers to tendencies such as Body art, Performance, Process art, Site-Specific art, and aspects of Conceptual art. In a similar manner to the term 'Post-Impressionism' it serves to gather together a range of styles that are related, yet which often have very different, even opposing interests. The term 'Post-Minimalism' was first used in reference to a range of art practices that emerged in the wake of Minimalism in the late 1960s.