Minimalism (Art)

O presente trabalho vem contemplar em que medidas o conceito de Teatro Essencial, criado por Denise Stoklos, consegue se aproximar efetivamente das propostas originais da Arte Minimalista. Neste trabalho, deve-se compreender o Minimalismo em suas distintas expressões artísticas: cinema, teatro, literatura, pintura etc. Para isso, discutir-se-ão os pontos de encontro entre ambas as correntes artísticas com o objetivo de efetuar uma busca investigativa no horizonte de uma corrente pós-dramática brasileira, a qual hoje é objeto de estudo e exportação intelectual no exterior, como é o Teatro Essencial de Denise Stoklos. Assim, será possível compreender novas medidas investigativas nas perspectivas alternativas do teatro brasileiro contemporâneo.

Art review.

Exhibition title: EVA & EMERICK
Artist: Yael Efrati
Curator: Nicola Trezzi
Location: The National Museum of Contemporary Art, Bucharest, Romania.
Dates: 26 April—2 September 2018
Exhibition made with the support of Mifal HaPais Council for the Culture and Arts, The Artis Grant Program & The Embassy of Israel in Romania

When style seems to have been an unobservable feature in images before the era of art, it became the normative and qualitative property during Early Modern times, and thus copying became the most prominent activity in the teaching and progress of art. What was aimed at was not so much the copy of the image, but rather to master the stylistic qualities of, say, a Rembrandt or a Raphael. Not so anymore. During Modernism, imitation of another artist's style is regarded as plagiarism, that is, issuing another's work as your own and is generally regarded as the most embarrasing an artist can do, and as such stands in contradiction to our very concept of art. Still, plagiarism has been, and is a prominent unrecognized feature in the artistic production for more than a century. This is, I believe, because our concept of art entails an antinomy: on the one hand: plagiarism is forbidden (you are not an artist and you do not produce art); on the other hand: if an artistic style is not copyied, it ceases to exist, and hence the antinomy: art has to embrace precisely that which it has to reject.

To substantiate this claim I will look at the time when style ceased to be a normative and qualitative concept to evolve into an "author function" during the 1860s with three coincident cases, i.e. the Musée des copies, the Bastianini-case and the succès de scandale of Courbet and Manet, all of which exemplary demonstrates a clash between two different concepts of art and the birth of our modern system of visual art. The key feature in this victorious system, I argue, is that it replaces the (first order) representational image with an iconoclasm of the first order image together with an introduction of an "image of a second order." The image of a second order is the hypostasization of traces and indices to icons. An image of the second order is essentially treating style as image. It functions exactly as images before the era of art, that is: an authoritative reproducendum without any original, contradicting the same modern system of visual art from which it stems.

The consequences of this contradiction or antinomy was blatantly exposed in the heated discussions following the Guggenheim Museum's acquisition of the Count Panza collection of Minimal and Conceptual art in 1991, and this case story is used in the final part of the paper to propose a definition of style as "an enactment of meaning".

Helen Pashgian is a pioneering member of the Light
& Space group of artists, exploring since the early ’60s the ways in which light is transmitted and transmuted through such materials as polyester resin, epoxy, acrylic, and other plastics that became available once declassified after World War II. Her work was featured in the Getty’s comprehensive exploration of West
Coast artists, entitled Pacific Standard Time, where
it was shown in California as well as Germany alongside that of her contemporaries such as Larry Bell, James Turrell, Mary Corse, Ron Cooper, Laddie John Dill, Peter Alexander, DeWain Valentine, and others.

The avant-garde can often appear bombastic or even dogmatic; characterised by bold gestures, manifestos and iconoclastic statements of intent. This impression derives partly from the boldness of avant-garde artworks and the statements of their makers, but also from the narratives used to explain them. Especially when painted in broad strokes, these narratives tend to emphasise big claims, violent rejections and definitive answers over hesitancies, questions and anxieties. While this may be appropriate to some artists, in many cases it threatens to give ongoing projects the appearance of finished masterpieces. It can also avoid the complexity of problems which the best artworks engage with, condensing their tentative, experimental questioning of thorny issues into pithy statements. Perhaps then, we should take advice from critic Donald Kuspit, who once claimed that if we can get behind the "avant-garde disguise of confidence" then we may be able to reach something rather more complex and interesting, which he called "Modernist self-doubt." 1 understanding the work, its production and the enigmas of its reception.

Aki Kaurismäki’s film style has often been labelled minimalist, but the concept has been used without an exact definition and even fundamental questions relating to his minimalism have gone unanswered. This article contextualizes Kaurismäki’s cinematography as well as explores in detail his systematic and significant use of camera techniques that can be productively understood as minimalist. Examples demonstrate how Kaurismäki’s camera positions the audience in a specific relationship to the story world and its characters, guiding viewers to experience these from what is termed the camera’s minimalist point of view.

Artykuł traktuje o relacji między amerykańskim minimal artem a praktyką taneczną. Tekst powstał w kontekście wystaw z 2015 roku: "Let's Dance" w galerii Art Stations w Poznaniu oraz "Objects and Bodies at Rest and in Motion" w Moderna Museet w Malmö.

These Pixelscapes were found within a photograph of Kazimir Malevich (Ukranian-born artist, 1878-1935) via magnification, filter treatment (halftone) and isolation of the pixel(s) in Photoshop. Malevich founded the art movement, Suprematism in Moscow, 1913 as a parallel to Constructivism. Suprematism ("supremacy of forms") is a study in abstraction conceived in itself ... non-objective and not related to anything except geometric shapes and colors ... and a precursor to Minimalism.

The primary aim of minimalism art movement was to make the audience experience the art work more intensely without the distractions of having too many formal elements and concepts. The paintings and sculptures of this particular art movement focused on simplicity in both content and form.

The artist works in various media and is a veteran printer, commissioned in 1983 and 1986 to print for the Israel Arts Council, in addition to her own editions. During the past years she has initiated a number of interdisciplinary projects reflecting her continuing interest in the inter-relationship between different art forms.

ÖZET Zaman hızla geçiyor, hızlı tüketim çağının yaĢam biçimleriyle insanlık Ģekil almaktadır. Teknolojik geliĢmelerin olumsuzlukları, insan için yetiĢmesi zaten zor olan hayatın akıĢına daha da ivme kazandırır ve hayatı bir koĢuĢturmacaya dönüĢtürür. Bu tempoya ayak uydurabilmek ve geniĢ imkanlardan pay alabilmek için daha çok çaba sarf edilir. Böylelikle de kimi zaman insani vasıflardan, ikili iliĢkilerden ve çoğunlukla da kendi için ayıracağı vakitten feragat etmek zorunda kalır. Tüm bu değiĢimin ardından insan hayatına ayna tutan edebiyat, hayatın ve onun en önemli parçası insanın değiĢimini yansıtırken aynı zamanda kendisi de bu değiĢime ayak uydurur. Zamanla yarıĢan günümüz insanının okuma alıĢkanlıkları ve okur olarak beklentileri değiĢir. Ayaküstü okuyabileceği türden bir edebiyat onun için daha cazip hale gelir. Bu durumda edebiyat alanına yeni bir eğilim olarak 1950"den sonra görülmeye baĢlanan ve dünya edebiyatında "flash fiction", "short short story", "sudden fiction" Türk edebiyatında "küçürek öykü", "kısa kısa öykü", "anlık öykü" gibi adlarla anılan yeni bir tür eklenir. Bu çalıĢmada küçürek öykü örneklerinden birisi olan Ferit Edgü"nün "Yolda" eseri çözümlenmeye çalıĢılmıĢtır. Çağın ruhunu yansıtan küçürek öyküler yazarın söylemek istediğini kısa yoldan söyleyebileceği, okurun da okuma ihtiyacını kısa yoldan giderebileceği bir çare olarak sunulur. Aynı zamanda kısa yoldan tüketim bireyi çaresizliğe, anlam arayıĢına da sürükler. Ferit Edgü"nün "Yolda" adlı küçürek öyküsü de insanın yaĢam karĢısındaki çaresiz kalıĢını, karar veriĢini, yolda olmasını ve arayıĢ duygusunu örtük bir anlatımla sunar. "Yolda" adlı küçürek öykü kelime tasarrufu açısından ele alındığında, küçürek öykü tarzının temel unsurlarından olan, sözcük düzeyinde simge ağını kurduğu görülmüĢtür. "Yolda" küçürek öyküsü, yola çıkan bireyin belirsizlikler içinde yola devam etmesini anlatırken yol felsefesini vurguladığı görülür.

Examining the skyspace by James Turrell, 'Seldom Seen' (2004) in Houghton Hall, Norfolk through the lense of Turrell's commissions and the international distribution of the skyspaces. How is it that he can reproduce the same thing but retain the individuality required to maintain its commercial appeal as an original? He remodels each skyspace to its location to become site-specific and thereby tailored to each commission. 'Seldom Seen' is bound with the history Charles Bridgeman's unrealised plans for Houghton Hall's gardens.

Ever since Marcel Duchamp devised his 'readymades' in the early twentieth century, the majority of the critical literature on artworks that comprise readymade and found objects focuses on the commodity status of these items and the critique of consumer culture. This session, instead, invites papers that explore the links between found object-based sculpture and its relationship to the economies and technologies of production in industrial and postindustrial metropolitan areas-as Anne Wagner has argued, the history of sculpture is in constant dialogue with the history of technologies of production. From the dominance of industrial zones in early twentieth-century modern cities around the world to the waning of industry, the emergence of service-based economies and the growth of the financial sectors in postindustrial, postmodern urban areas, this panel explores how artistic practices that incorporate found objects negotiate the shifting texture of cities on the level of the street, the neighborhood, the workplace, the local store, real estate and urban life. This panel encourages the participation of art historians, curators, museum professionals, artists and theorists whose work and scholarship encompass the study of readymades, found objects, and simulated everyday objects in modern and contemporary sculpture and explore its links to obsolete and emerging technologies and sites of production in the context of industrial and postindustrial cities worldwide.

* Please send proposals for a paper including title, abstract (250 words maximum) and a short bio to Dr Natasha Adamou at [email protected]

For more information concerning the conference, see: http://www.collegeart.org/programs/conference/

Minimalism arose in the United States during the sixties surrounded by many controversial attitudes. There have been also conflicts of opinion and diverging aesthetical positions towards the style in Brazil. This article aims to contribute to the debate about Brazilian music and to point to many aesthetical styles present on Brazilian Contemporary Music scenario.

Twenty-three years after his death, Clement Greenberg is still someone to be taken into account in the world of contemporary art criticism, especially when we speak of Modernism. One cannot minimize the importance of his theory, usually re-ferred to as formalist, or the influence it has had on the generations of artists from the 1930s to the present day. It is also a fact that, on one hand, there are multiple defend-ers and followers of his theory, but on the other hand, he also generates strong criti-cism and meets several attempts to challenge his aesthetic principles. The goal of this dissertation is to analyze the implications of Greenberg’s theory in the course of mod-ern art, basically in painting but also in sculpture, using a corpus of texts written by Greenberg since the end of the 1930s to the 1980s, explaining the dissensions between Greenberg and the other art critics. This will encompass the course of Modernist art from Impressionism to Jasper Johns, and Robert Rauschenberg, and then polemizing the commentary that major names in art criticism, such as Michael Fried, Leo Stein-berg, and Rosalind Krauss made to the work of Greenberg. Consequently, it is argued that the journey made across 80 years of painting and sculpture by Greenberg demon-strates how the vision of one man became as important and critical as that of the art-ists themselves.

Passados vinte e três anos da sua morte, Clement Greenberg continua a ser um nome a ter em conta na crítica de arte contemporânea, nomeadamente quando falamos de Modernismo. Não se pode escamotear a importância da sua teoria, geralmente apelidada de formalista, nem a influência que a mesma teve em gerações de artistas, desde os anos 30 do século XX até aos nossos dias. Também é um facto que, se por um lado, encontramos múltiplos defensores e até discípulos, por outro gerou fortes críticas e tentativas várias de desconstrução dos seus princípios artísticos. Partindo da leitura de um corpus de textos de Greenberg escritos desde o final da década de 30 até à década de 80 do século XX, procura-se, ao longo desta dissertação, analisar as implicações da teoria de Greenberg no percurso da arte moderna, essencialmente na pintura mas também na escultura, explicitando as dissensões entre Greenberg e outros críticos de arte. Mostrar-se-á, assim, o percurso da arte modernista desde o Impressionismo até Jasper Johns e Robert Rauschenberg, polemizando as referências que nomes maiores da crítica de arte, como sejam Michael Fried, Leo Steinberg e Rosalind Krauss, fazem à obra de Greenberg. No final, pretende-se que o percurso feito ao longo de cerca de 80 anos de pintura e escultura demonstre como a visão de um só homem se revelou tão importante e fundamental quanto a dos artistas.

A brief discussion of some of the crucial elements of art comprehension and creation. While primarily pertaining to comics per se, I try to be philosophically comprehensive and holistic both in terms of subject matter as well as life in general.

Originally posted at my blog: http://elysiumisnow.weebly.com/

SPACE PLAN began in November 1968 with a manifesto, and the members produced work that took on styles of Minimalism. While showing work at civic halls and galleries, the members also actively attempted to organize outdoor exhibitions in and around Tottori City, for example, the Aoshima Island, an islet in the Koyama pond, or the front garden of Jinpukaku, a French Renaissance style residence that dates back to the Meiji era. Noteworthy is the Second Exhibition, which showcased Minimalist works on a grand scale in the Tottori Sand Dunes. Although the group garnered local media attention at the time, their activities were restricted to the Tottori region and therefore never became nationally famous.
How did their style, which stemmed from a modern art movement like Minimalism, evolve in the latter half of the 1960s in the local region of Tottori? This paper examined the group’s activities while tracing the circumstances surrounding the culture of Tottori during the 1960s and the 1970s, and within various historical contexts—the age of youth rebellion, Gutai’s outdoor exhibitions, the open-air sculpture exhibitions of Ube (Yamaguchi) and Suma (Kobe), Fukushima Noriyasu and the Kitashirakawa Art Village in Kyoto, and the development from Minimalism to Post Minimalism.

This article investigates Robert Morris's much-discussed 'minimal art' of the 1960s.  It argues that the well known 'phenomenological account' of minimalism, which developed in relation to Morris's work, was conditioned by the space of the commercial gallery and the rise of a 'gallery network'.  Drawing on fresh archival research as well as close readings of particular objects and exhibitions, it argues that, as well as the 'environmental' space of their immediate surroundings, these sculptures were equally keyed to the logistical arena of transportation, circulation and exchange.  The article hence an alternative approach to the notion of art's commodification, linking Marx's theory of exchange with the concrete details of artistic labour in the 1960s.

https://academic.oup.com//oaj/article/39/3/421/2680337/Robert-Morriss-Minimal-Sculpture-the-Rise-of-the?guestAccessKey=89eb49c0-4017-40d9-a819-ca919881cd06

The reception of phenomenology in art criticism reached its apex in the mid-1960s in its application to Minimalism in the United States. The focus was on the embodied, direct perceptual experience of Minimalist sculpture, but in light of Conceptual art's 'dematerialised' practices, which developed as the decade progressed, the interest in phenomenology waned. This paper looks at the history of this reception and presents Merleau-Ponty's late ontological work as a corrective to an inadequate understanding of phenomenology in critical discourses on art at the time. It argues that the late Merleau-Ponty offers tools for an effective critique of early conceptualism's idealism, as well as a basis on which the 'dematerialised' and dispersed ontology of the art work shared by both Conceptual and more recent Post-Conceptual practices can be investigated.

La intención de este trabajo es esbozar algunas características de los movimientos artísticos conocidos como arte povera, minimalismo y land art comparando dos obras de Magdalena Jetelová con otras representativas de los movimientos mencionados. En primer lugar, se contrapone Domesticación de una pirámide de la artista checa con la Venus de los trapos de Michelangelo Pistoletto. Luego se pone en relación Place de Jetelová con la obra minimalista Sendero de Carl André y finalmente con Observatorio obra land art de Richard Morris.

Minimalism is an art movement that emerged in America in the 1960s
with the philosophy of less is actually more. After first showing itself inplastic arts, it became an effective narrative in other art branches. In this work, first of all, the emergence of minimalism and its reflections on the art of cinema will be discussed on the axis of independent cinema and minimalism. The relationship between independent cinema and minimalism will be predominantly evaluated on Jarmsuch cinema, since the films that make up the building blocks of Jim Jarmusch's cinematography often include minimalist content and Jarmusch is a director with 'independent cinema'. Stranger Than Paradise, Jarmusch's first feature-length film, was chosen as the sample because it emerged at the end of the independent filmmaking process and contained minimalist elements.In order to reveal the general lines of the Jarmusch's cinematography and the minimalist elements of Stranger Than Paradise, the film's minimalist narrative codes will be evaulated as part of a qualitative content analysis method.

This chronology covers the activities of an interdisciplinary cross-section of figures who were instrumental in redefining advanced artistic practice around the pivotal year 1961. Since an unfiltered chronology of this period could easily fill many more pages than are available here, an anchoring device has been the first printed "framing" of this field, An Anthology, the landmark compendium compiled in 1960-1961 by La Monte Young and published in 1963 by Young and Jackson Mac Low. The chronology is focused by its coverage of events involving the contributors to this publication. Some of these artists first became acquainted in the years under discussion, and, where known, their initial encounters are noted. In many cases these associations endured for decades. Although interactions beyond 1963 fall outside the scope of this project, a brief mapping of those relationships cemented in the years prior to 1959 provides a context for the chronology proper.

This dissertation examines the work of Felix Gonzalez-Torres, Doris Salcedo, Teresa Margolles, and Santiago Sierra, artists that redeploy the aesthetics of 1960s minimalism in relation to contemporary political crises. I argue that these artists make an important case for the political and ethical relevance of aesthetic abstraction, insofar as their work imagines forms of coexistence that resist the sovereign organization of human bodies.

In each chapter, I discuss a selection of major works by an individual artist, emphasizing theoretical analyses that privilege deconstruction, bio- and necropolitical theory, and continental philosophy. I situate artistic practices in relation to their social and political contexts to consider how Gonzalez-Torres, Salcedo, Margolles, and Sierra respond to issues such as the AIDS crisis, state violence, and socio-economic subjugation. Specifically, I consider how they use minimalist formal strategies to convey the socio-political abstraction of human life and, further, to address the conditions in which certain bodies fail to appear. These artists demonstrate how the body’s disappearance produces an abstraction: not the sign of a body but the index of its withdrawal from appearance (to invoke the etymological meaning of abstrahere). By portraying the material traces of the figure’s negation, they account for the aesthetic and political challenge of presenting anonymous bodies and beings. Their work thereby inverts minimalism’s concern with the relation of objective forms to embodied viewers, in that it reveals art’s contradictory relation to inaccessible bodies. This approach carries important aesthetico-ethical ramifications: it exposes viewers to unknowable and imperceptible beings, challenging dominant ethical models based on the inter-subjective relation of autonomous individuals; hence, it illustrates an ethics of coexistence that is irreducible to subject-object binaries and to the subjectivization of embodied life.

The American minimalist artist Donald Judd is closely linked to his concept of the ‘specific object,’ a new form of three-dimensional work defined by its embrace of ‘real space’ and its complete opposition to the humanistic illusionism of what Judd called the ‘European tradition.’ Yet at the crux of his canonical essay ‘Specific Objects,’ Judd compares this new type of work to ‘one of Brunelleschi's windows at the Badia di Fiesole,’ thus aligning it with the inventor of linear perspective and, so it would seem, originator of the very tradition he wished to supersede. This problematic comparison, which has never received sustained analysis, puts pressure on the dominant view of Judd’s work as an outgrowth of modernist painting, instead pointing to the abiding presence of architectural prototypes, especially Renaissance ones, in the artist's work and thought. This paper identifies Judd's Renaissance framework as a veiled form of architectural modernism inherited from his professor of Renaissance architecture, Rudolf Wittkower, and explores its operation in Judd's conceptualization of both ‘specificity’ and ‘space’ itself, as manifested in his writing and in key works from his formative period, 1960-1965. By historically situating Judd's Renaissance imaginary with respect to contemporaneous discourses on art and architecture, the paper seeks to open a new perspective onto the development of minimalism more generally.

This essay explores schisms between art that instills contemplative attitudes in refuge from a troubled world and activist art that lays siege to art galleries to expose their political indifference. It concludes  that the inside/outside metaphor takes on a different form in the virtual spaces of cyber art

İnsan-nesne ilişkisi ruhun bedene girdiği anda başlayıp, yine ruhun bedeni terk etmesiyle son bulur. Bu ilişki, tek yönlü değil, süje-obje arasında, karşılıklı bir bağ yoluyla gerçekleşir. Sanatçı, sanatsal faaliyetini gerçekleştirme sürecinde nesneden faydalanır ve bu sürecin sonunda nesne de bir değere kavuşur. Bu araştırmanın amacı; sanatçı-nesne ilişkisi bağlamında, geçmişten günümüze, sanatçının " nesne " ye yüklediği görev ve anlam araştırılarak, bu durumun zamanla değişim biçimini tarama yoluyla sunmaktır. Ayrıca, biçim ve sorumluluğu sürekli değişse de nesnenin, resim sanatındaki varoluşu anlatılacak ve soyut sanat anlayışında bile, onun sürekliliğine vurgu yapılacaktır. Bu anlayışla resim sanatı için, nesnesiz sanatın olamayacağını ancak, " nesne değişkenliği " olabileceği gerçeğini ortaya koymaktır

Παρόλο που η χρήση του όρου ‘μουσικός μινιμαλισμός’ δε βρίσκει σύμφωνους ούτε τους ίδιους τους εκπροσώπους του ρεύματος, ενώ και η ακαδημαϊκή κοινότητα για δεκαετίες αδιαφορούσε για το ρεύμα αυτό, η σημασία του ενδεχομένως να έγκειται στο γεγονός ότι ο μινιμαλισμός επανέφερε τη σχέση συνθέτη-ερμηνευτή-κοινού σε επίπεδα που υπήρχαν έως και τις αρχές του 20ου αιώνα.
Οι συνθέτες είχαν δημιουργήσει τα δικά τους μουσικά σύνολα και παρουσίαζαν το έργο τους σε κάθε πιθανό χώρο εκτός των τυπικών χώρων συναυλιών κλασικής μουσικής γεγονός που προσέθετε αμεσότητα, μεγαλύτερη συχνότητα επικοινωνίας της κοινωνίας με το έργο τους ενώ και η διαδικασία ταύτισης καλλιτέχνη - κοινού ήταν μεγαλύτερη. Ο συνθέτης – πομπός είχε ξανά ακροατές – δέκτες και στις συναυλίες υπήρχε ένα υπνωτικό είδος μυσταγωγίας το οποίο ενισχυόταν από το ύφος της μουσικής με τα επαναλαμβανόμενα μοτίβα, το στοιχείο της στάσης και την έλλειψη έντονων διακυμάνσεων στις δυναμικές.
Σχετικά με τα ιδιαίτερα χαρακτηριστικά του μουσικού μινιμαλισμού είναι σημαντικό να αναφερθεί πως τα προαναφερθέντα χαρακτηριστικά καθώς και η προσέγγιση των ίδιων των συνθετών σχετιζόταν με τα κοινωνιολογικά γνωρίσματα της αμερικάνικης κοινωνίας και ειδικότερα της μεταπολεμικής Αμερικής. Σε αντίθεση με την Ευρώπη που προερχόταν από πολλές δεκαετίες πολέμων, αλληλοσπαραγμών, μετακινήσεων και εξαφανίσεων πληθυσμών, οι Η.Π.Α δεν είχαν τα ίδια χαρακτηριστικά. Οι δύο παγκόσμιοι πόλεμοι δεν είχαν αφήσει τις ίδιες πληγές και οι πληγές της μεγάλης ύφεσης είχαν επουλωθεί με την οικονομική ανάπτυξη που γνώρισαν οι Η.Π.Α από το 1938 και έπειτα.
Το έργο των μινιμαλιστών συνθετών πέρα από τα καθαρά μουσικά χαρακτηριστικά του περιέχει και κάποια στοιχεία που ήταν ενδημικά της αμερικανικής κοινωνίας όπως πολυπολιτισμικότητα, αμεσότητα και έλλειψη παραδοσιακών προκαταλήψεων.
Σταδιακά από τις αρχές της δεκαετίας του 1980 άρχισαν να φαίνονται τα πρώτα σημάδια ενός παραπλήσιου ρεύματος· του μουσικού μεταμινιμαλισμού. Ο μεταμινιμαλισμός εξελίχθηκε σε πολύ περισσότερες χώρες και με διαφορετικά παρακλάδια και διαφορετικά χαρακτηριστικά, ενώ παρόλο που  έχει κοινά στοιχεία με το μινιμαλισμό (όπως σταθερό ρυθμό/παλμό, απουσία έντονων κορυφώσεων ή συναισθηματικών εξάρσεων κ.α), παρουσιάζει λιγότερο εμφανή δομή στο μουσικό έργο, ενώ επίσης είναι πιο έντονα τα στοιχεία επιρροής από μουσικές άλλων πολιτισμών καθώς και από την “δημοφιλή μουσική”.

Trisha Brown’s early choreographic work deals intrinsically with the relationship between dance and urban space. Performed on rooftops, park benches or exterior house walls, some of her most famous pieces of Postmodern Dance investigate how choreography can interact with the topography of a city. Dance here does not merely react to the city as a stage, but rather creates and transforms its own surrounding space by leaving ephemeral inscriptions within the network of urban structures.
But how does a dance piece performed outside the walls of a theatre or gymnasium read and even change the social structure of a city? To which ways of urban cartography – such as street maps and traffic signs – can choreography refer by copying systems of city-communication and developing them into an undecipherable form of body calligraphy? And finally: when dancing is far more than an ornamental addition to an urban landscape, to what extent can it be described as a form of architecture in itself?
I will address these questions in regard to Trisha Brown’s „Roof and Fire Piece” originally performed on rooftops in SoHo in 1973 and recreated on the High-Line in Chelsea in 2011. By focusing in particular on the figuration and de-figuration of the bodily shapes of the dancers – who are dressed in scarlet-red costumes – I will argue that their movements, blended with an urban topography, create a synesthetic and kinesthetic vision of dance as an embodied form of fluid architecture and semaphore-like writing in the city.

Established as a reaction against conceptual expressionism, moderation was portrayed by streamlined, stripped-down structures and materials used to communicate thoughts in an immediate and indifferent way. By introducing objects as basic articles, insignificant craftsmen tried to convey without alluding to expressive or authentic subjects. This basic development, which started during the 1960s and stretched out into land workmanship, execution craftsmanship, and theoretical workmanship, is as yet a significant impact today. Included craftsmen: Carl Andre, Stephen Antonakos, Jo Baer, Larry Bell, Ronald Bladen, Walter De Maria, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Gary Kuehn, Sol LeWitt, Robert Mangold, John McCracken, Robert Morris, Robert Ryman, Fred Sandback, Richard Serra, Tony Smith, Robert Smithson, Anne Truitt.

First published in Artforum 6 (September 1967) 1, pp. 5-6.

In this letter Jo Baer responds to Bob Morris "Notes on Sculpture: Part 3," (Artforum, Summer, 1967) and Donald Judd's polemic in "Specific Objects" (Arts Yearbook 8, 1965).

This letter was also published in 'Jo Baer. Broadsides & Belles Lettres', 2010, pp. 42-44.