黑料不打烊


Minimalism: Now/Then/Again

23 Oct, 2011 - 31 May, 2012
This group exhibition, which includes works on paper, painting, and sculpture from the Speed鈥檚 permanent collection, explores the Minimalist aesthetic of austerity, repetitive and serial geometric forms, and industrial or non-traditional materials. Donald Judd (American, 1928-1994), whose sleek cubic and rectilinear works in the late 1960s redefined the direction of postwar sculpture, disliked the word Minimalist, calling himself 鈥渁n empiricist鈥 when pressed. In his influential 1965 essay, Specific Objects, he announced that the 鈥渘ew three-dimensional work is not a painting or sculpture, but a space to move into...real space the viewer inhabits.鈥


Works in this installation, which includes Frank Stella鈥檚 iconic painting from his Irregular Polygon Series (mid-1960s), Richard Tuttle鈥檚 eccentric and poetic drawings (mid-1970s), Haim Steinbach鈥檚 mixed-media assemblage (1986), and Lucky DeBellevue鈥檚 awkwardly elegant chenille stem sculpture (1994), explore the relationship of the viewer - 鈥渢he body鈥 (in art historical terms) -- to the work of art and the space they both 鈥渋nhabit.鈥 Examining the manifestations of the Minimalist aesthetic since the 1960s will offer a renewed appreciation of its importance and relevance to the story of the transformative power of contemporary art.


This group exhibition, which includes works on paper, painting, and sculpture from the Speed鈥檚 permanent collection, explores the Minimalist aesthetic of austerity, repetitive and serial geometric forms, and industrial or non-traditional materials. Donald Judd (American, 1928-1994), whose sleek cubic and rectilinear works in the late 1960s redefined the direction of postwar sculpture, disliked the word Minimalist, calling himself 鈥渁n empiricist鈥 when pressed. In his influential 1965 essay, Specific Objects, he announced that the 鈥渘ew three-dimensional work is not a painting or sculpture, but a space to move into...real space the viewer inhabits.鈥


Works in this installation, which includes Frank Stella鈥檚 iconic painting from his Irregular Polygon Series (mid-1960s), Richard Tuttle鈥檚 eccentric and poetic drawings (mid-1970s), Haim Steinbach鈥檚 mixed-media assemblage (1986), and Lucky DeBellevue鈥檚 awkwardly elegant chenille stem sculpture (1994), explore the relationship of the viewer - 鈥渢he body鈥 (in art historical terms) -- to the work of art and the space they both 鈥渋nhabit.鈥 Examining the manifestations of the Minimalist aesthetic since the 1960s will offer a renewed appreciation of its importance and relevance to the story of the transformative power of contemporary art.


Contact details

2035 South Third Street Louisville, KY, USA 40208
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