contemporary art - minimalist phenomenon

sensitivo articulum

The rise of minimalism, or minimalism, is thought to have occurred in the 1960s. Minimalist artists such as Carl Andre and Frank Stella are said to have been the first to display simple boxes or metal plates in the exhibition space.[1]

Abstract Expressionism focused on 'flatness' and 'visibility' as conditions for painting, reflecting the idea that each field such as literature, painting, sculpture, music, theater, and architecture has its own characteristics and should be focused on them. If a logic that can protect the purity of the medium, such as architecture that focuses on the volume of space or music that focuses on sound and the passage of time, is applied, the logic of abstract expressionist artists can be seen as that the painting is on a "plane." Because they see painting as "dramatic" and landscape as "architectural" (three-dimensional), they prefer random abstract representations rather than figures and landscapes.[2]

In defiance of these strict principles, minimalism denies flatness and has its origins in the attempt to make it appear theatrical or architectural in a deliberate reverse.[3]  It showed works such as drawing lines inside the canvas along the shape of the canvas, placing flat boxes one after another in the exhibition space, or hanging objects such as boxes on the wall. It tried to criticize the Abstract Expressionists by claiming that this was a "painting" and revealing that the painting had a "thickness" like a sculpture and therefore could not be flattened in the first place.[4]

In the process, minimalist artists embraced Husserl's phenomenology. Phenomenology is the study of expressing only the "phenomenon" felt in the "now" and "here", and minimalist artists placed simple objects in the exhibition space simply to examine the phenomenon of the object felt in the "now" and "here".

Development

These concepts, such as the perception of time and space, the importance of a particular place, and the feeling of a relationship, have had a great influence on the contemporary art world since then. In pursuit of its influence, conceptual art began by asserting the necessity of artistic perception of 'concepts', which are the output of cognitive processes across space and time.[5]  Earth art began with the idea of aiming for outdoor activities in order to be free from the constraints of a fixed "place" within an art museum. The installation art began with the idea that "unlike existing sculptures, whose meaning does not change even if they are moved to another place, why not try 'site-specific' art that is meaningful only in 'place'?" The work of criticizing the system began with the thought, "Then, wouldn't it be possible to criticize the system in a place dominated by a typical art system, such as an art museum?" Finally, the work of relational aesthetics asks, "Isn't it possible to artistically sublimate the relationship between people and communities?"[6]

This minimalism began to influence not only the Western art world, but also other regions. For example, minimalism influenced other disciplines, such as design and architecture.

Result

The acceleration of globalization has been in a transitional period with an emphasis on server sharing on the network, and obstacles come into play: the advent of smartphones has increased the accessibility of international networks. Thus, the longitudinal user design has been simplified, which is believed to be the root that led to the misinterpretation of minimalism.[7] The popularity of the field is sufficient to believe that this closed culture has led to its "spread" to the modern art world.

Judging from the history of minimalism, it is thought that minimalism is a movement to imply only the meaning that should be emphasized, and that excessive abstraction may not be generally appropriate for its purpose.

References

References (citations) format:  APA 6 ^th – for both taste notes and standard APA forms.

DOI notation : Early (ancient) notation format.

[1] Minimalist novel (Kim Sung-gon, 1994)

[2] Strickland, E. (1993). Minimalism: Origins Indiana University Press.

[3] Indiana university press -- minimalism: Origins by edward strickland / sourcebook for research in music by phillip D. crabtree and donald H. foster / expressionism in twentieth-century music by john C. crawford and dorothy L. crawford / and others. (1994). The American Music Teacher, 44(1), 40.

[4] Berstel, J., & Reutenauer, C. (2010). Minimization. In Noncommutative Rational Series with Applications (Encyclopedia of Mathematics and its Applications, pp. 29-46). Cambridge: Cambridge University Press. doi:10.1017/CBO9780511760860.003

[5] Best, S. (2006). Minimalism, subjectivity, and aesthetics: Rethinking the anti-aesthetic tradition in late-modern art. Journal of Visual Art Practice, 5(3), 127. doi:10.1386/jvap.5.3.127_1

[6] Consolidated authors, references omitted

[7] Rutter, B. (2010). The problem of a modern art. In Hegel on the Modern Arts (Modern European Philosophy, pp. 6-62). Cambridge: Cambridge University Press. doi:10.1017/CBO9780511760440.002

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