Ugh i gotta get out of these norms
compulsive memoirization as one kind of public subjectivity available within our privately individualist culture
Ignored or denied in the work of my 1960s peers, the nuts and bolts of emotional life shaped the unseen (or should I say ‘unseemly’?) underbelly of high U.S. Minimalism. While we aspired to the lofty and cerebral plane of a quotidian materiality, our unconscious lives unraveled with an intensity and melodrama that inversely matched their absence in the boxes, beams, jogging, and standing still of our austere sculptural and choreographic creations.
adherence to or rejection of this age-old measure of sculptural presence, the relation between painting and sculpture, the use of the grid or industrial material, anti-expressionism and its opposite, the attitude regarding mass culture or the market, the lure of dematerialization, etc.
In his 1967 article, John Perreault asserts that Minimal art is a fad that will pass, “and just as most of the second-rate Pop artists have fallen by the wayside and the really good Pop artists continue to expand and develop their unique sensibilities, so too will all the minor Minimal artists, producing a boring glut of unimaginative, superficial variations on a worn out theme, sink to their just reward, leaving perhaps three or four major artists for the history books and for the younger artists to oppose, contradict, love and hate.”
- that is rigorous, passionate, eloquent, and precise;
- in which a keen engagement with the present is infused with an appreciation of the historical;
- that is neither afraid to take a stand nor content to deliver authoritative pronouncements, but serves rather to pose questions and to generate new possibilities for thinking about, seeing, and making art;
- that is sensitive to both the importance and difficulty of situating aesthetic objects within their broader social and political contexts;
- that does not dilute or sidestep complex ideas but renders accessible their meaning and value;
- that creatively challenges the limits of existing conventions without valorizing novelty as an end in itself.
new models of artistic “influence” with particular attention to historiographic concerns and the influx of performance and technologies of reproduction in contemporary art
Stagnation masquerading as progress
the baroque’s obsessive concerns with illusionism and the questionable nature of reality was adapted to a new cultural context, becoming a formal strategy that could be used to contest the “truth” of dominant ideologies and issues of identity, gender, and “reality” itself