Less: Minimalism in the 1960s
Acquavella Galleries is pleased to present less: minimalism in the 1960s, an exhibition featuring nineteen sculptural works by preeminent artists associated with the artistic movement that is now referred to as minimalism. The show is organized by Director Michael Findlay, and is on view from February 1鈥揗arch 11, 2023 at Acquavella鈥檚 New York location.
The term 鈥渕inimalism,鈥� now widely understood as an artistic and aesthetic style, was not always so ubiquitous. Associated with eliminating non-essential forms and exposing an object鈥檚 essence, this art historical movement emerged between 1961 and 1969 from a crucible of invention by mostly New York based artists鈥攚ith artists in London and elsewhere also having a significant impact. The new aesthetic expressed itself sculpturally through largely un-pedestalled objects in a wide variety of materials. Despite varying in scale, texture, form, and palette, each work possessed a common enigmatic simplicity and clarity.
The artists included in this exhibition were at the center of this new movement in the early stages of their artistic practices; a single work by each artist is on view to underscore the conception of minimalist practices as a collective movement. Although today some of minimalism鈥檚 groundbreaking artists are better known than others, this installation revisits the impact their work had at the time of its creation. Many of the artists included here were also featured in Kynaston McShine鈥檚 seminal Primary Structures exhibition at The Jewish Museum in 1966鈥� including Carl Andre, Richard Artschwager, Larry Bell, Ronald Bladen, Judy Chicago, Walter de Maria, Dan Flavin, Robert Grosvenor, Douglas Huebler, Donald Judd, Sol LeWitt, John McCracken, Robert Morris, and Anne Truitt鈥攚hich is now posited as a critical juncture in the development of minimalism; however, the word 鈥渕inimal鈥� is mentioned in the exhibition catalogue only once, a reflection of the relative newness of the style.
Michael Findlay states: 鈥淲hat I hope to do with this exhibition is to introduce the viewer to the vision of these artists that I encountered well before they had significant critical or commercial status. They indeed made history, but the shared goal was to make things that were new and exciting. The bracing shock of those encounters鈥� has never left me.鈥�
The exhibition is accompanied by an online catalogue with supplemental materials and commentary, featuring an essay by Michael Findlay, as well as a panel discussion and podcast.
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Acquavella Galleries is pleased to present less: minimalism in the 1960s, an exhibition featuring nineteen sculptural works by preeminent artists associated with the artistic movement that is now referred to as minimalism. The show is organized by Director Michael Findlay, and is on view from February 1鈥揗arch 11, 2023 at Acquavella鈥檚 New York location.
The term 鈥渕inimalism,鈥� now widely understood as an artistic and aesthetic style, was not always so ubiquitous. Associated with eliminating non-essential forms and exposing an object鈥檚 essence, this art historical movement emerged between 1961 and 1969 from a crucible of invention by mostly New York based artists鈥攚ith artists in London and elsewhere also having a significant impact. The new aesthetic expressed itself sculpturally through largely un-pedestalled objects in a wide variety of materials. Despite varying in scale, texture, form, and palette, each work possessed a common enigmatic simplicity and clarity.
The artists included in this exhibition were at the center of this new movement in the early stages of their artistic practices; a single work by each artist is on view to underscore the conception of minimalist practices as a collective movement. Although today some of minimalism鈥檚 groundbreaking artists are better known than others, this installation revisits the impact their work had at the time of its creation. Many of the artists included here were also featured in Kynaston McShine鈥檚 seminal Primary Structures exhibition at The Jewish Museum in 1966鈥� including Carl Andre, Richard Artschwager, Larry Bell, Ronald Bladen, Judy Chicago, Walter de Maria, Dan Flavin, Robert Grosvenor, Douglas Huebler, Donald Judd, Sol LeWitt, John McCracken, Robert Morris, and Anne Truitt鈥攚hich is now posited as a critical juncture in the development of minimalism; however, the word 鈥渕inimal鈥� is mentioned in the exhibition catalogue only once, a reflection of the relative newness of the style.
Michael Findlay states: 鈥淲hat I hope to do with this exhibition is to introduce the viewer to the vision of these artists that I encountered well before they had significant critical or commercial status. They indeed made history, but the shared goal was to make things that were new and exciting. The bracing shock of those encounters鈥� has never left me.鈥�
The exhibition is accompanied by an online catalogue with supplemental materials and commentary, featuring an essay by Michael Findlay, as well as a panel discussion and podcast.
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