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Post-Minimal Pluralism

http://www.whitney.org/Exhibitions/2010Biennial. Post-Minimal Pluralism.

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Post-Minimal Pluralism

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  1. http://www.whitney.org/Exhibitions/2010Biennial Post-Minimal Pluralism

  2. Bruce Nauman (US, b. 1941) (left) Eating My Words, and (right) Self Portrait as a Water Fountain, from Eleven Color Photographs" (1966-1967/70)“If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.”

  3. Bruce Nauman (US 1941) (left) Wax Impressions of the Knees of Five Famous Artists, 1966, fiberglass and polyester resin (not wax), 15 5/8 in. x 85 1/4 in. x 2 3/4 in. Collection SFMOMA . Knee impressions are all Nauman’s(right) Hand to Mouth, wax over cloth, 1967 (cast from wife’s body) "If they're not puzzled, they're not getting it." - Robert Storr (MoMA NYC) on Nauman’s viewers

  4. Dada and Neo-Dada sources for Bruce Nauman(right) Jasper Johns, Target with Four Faces, 1955, encaustic and collage on canvas, 30 x 26” Museum of Modern Art, New York. McCarthy-era closeted identity?(below) Marcel Duchamp, Female Fig Leaf, 1950, bronze, cast 1961

  5. Bruce Nauman, Art Makeup, White, Black, Pink, Green, 1967-8, performance video stillshttp://video.google.com/videoplay?docid=-8018180473912040117#docid=8824343735046804261

  6. Nauman, Slow Angle Walk(Beckett Walk) (1968). Video, 60 minMy name as though it were written on the surface of the moon. http://video.google.com/videoplay?docid=-8018180473912040117#

  7. Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign), 1967. Neon tubing with clear glass tubing suspension supports; 59 X 55 x 2 inOriginal made for the artist’s San Francisco street-front studio window: the private thought made as public as a commercial beer sign. Conceptual art is a poetic/political intervention into conventional (unquestioning) modes of “thought.”

  8. "The most difficult thing about the whole piece for me was the statement. It was a kind of test - like when you say something out loud to see if you believe it. Once written down, I could see that the statement [...] was on the one hand a totally silly idea and yet, on the other hand, I believed it. It's true and not true at the same time. It depends on how you interpret it and how seriously you take yourself. For me it's still a very strong thought." - Nauman

  9. Bruce Nauman, South American Triangle, 1981, welded steel beams (each 165” long) and cast iron chair. Inspired by Jacobo Timerman’s account of his torture by the Argentinean military regime.

  10. Bruce Nauman, Hanging Carousel (George Skins a Fox), 1988, taxidermist forms and suspension of South American Triangle signify victimization and violence.

  11. Eva Hesse (German (Jewish)-American 1936 -1970, 34 years) Post-Minimalism (and Proto-Feminism) “I remember I wanted to get to non art, non connotive [sic], non anthropomorphic, non geometric, non, nothing. . . . question how and why in putting it together? Can it be different each time? Why not? How to achieve by not Making? It’s all in that.” - EvaHesse Hesse in NYC studio with Rope Piece 1969-1970

  12. Eva Hesse Metronomic Irregularity, sculpt metal on wood, drilled and threaded with cotton-covered wire, 12 x 18 x 2 in.,1966. First of a series with two subsequent versions. The second was 4 x 20 ft. Dialectics of minimalist grid and serial form with “chaos” and subjective “absurdity” of the expressionist wires

  13. Hesse, Hang Up, acrylic on wood, cloth, steel, 1966 (detail lower right)notebook page showing Hang Up and other sculptures, 1965-66 The absurd

  14. (left) Eva Hesse in New York apartment in 1966 holding Ingeminate(right) Hesse,Ingeminate 1965, surgical hose, papier-mâché, cord and sprayed enamel over inflated balloons

  15. Eva Hesse, No Title, 1966, ink wash and pencil, 11 3/4 x 9 in.“If something is absurd, it’s more absurd to repeat it.”

  16. Eva Hesse (left) Accession II 1967 galvanized steel, rubber tubing, c. 30” squareHesse with Accession II in 1968

  17. Hesse,Sans II, 1968, fiberglass polyester resin 5units each 38 in H Donald Judd, Untitled, 1964

  18. Hesse, Repetition Nineteen III, fiberglass and polyester resin, 1968compare Carl Andre (right), Twelfth Copper Corner, 1975 “I feel, let’s say, emotionally connected to [Carl Andre’s] work. It does something to my insides. His metal plates were the concentration camp for me.” - Hesse

  19. Eva Hesse, Contingent, 8 units, fiberglass and latex over cheesecloth, 1968Post-Minimalist rejection of Minimalism’s mechanical rigidities for psychological expressivity of materials and form. Wanted the impermanence of latex.

  20. Eva Hesse, Expanded Expansion, 1969, 10’ 2” x 25’ overall, latex on cheesecloth with reinforced fiberglass poles, Guggenheim Museum, NYC “I am not sure what my stand on lasting really is. Part of me feels that it's superfluous, and if I need to use rubber that is more important. Life doesn't last; art doesn't last." Eva Hesse

  21. Eva Hesse, Untitled, 1970. Fiberglass over polyethylene over aluminum wire. 7 units each 78 in. x 40 in. Berkeley Art Museum

  22. Tara Donovan (American, b. 1969) Untitled (Plastic cups), 2006, millions of transparent plastic cups in a tight grid, stacked into curves and waves. (The work is re-made each time it is shown and can be expanded or contracted to fit the space.)

  23. Tara Donovan, Untitled (Plastic Cups) 2000 installation

  24. Tara Donovan, Untitled (Glass), 2006. Sheets of stacked tempered glass; one corner of each pane is struck with a hammer and shattered into tiny pieces that stay in place. “If you bump into this and knock a corner off it, it can’t be repaired or remade with the same materials. It has to be made over again.” When the show is over, "it gets taken away with a shovel.”

  25. Eva Hesse, Rope Piece, 1970

  26. Compare Eva Hesse, 1969, with Marcel Duchamp, Sixteen Miles of String, 1942, part of Duchamp’s installation for the First Papers of Surrealism, Peggy Guggenheim’s Art of this Century gallery, NYC

  27. Hans Namuth, photographs and film stills of Pollock Painting, 1951

  28. Compare Eva Hesse, Rope Piece, 1970, with Robert Morris, Untitled, (Pink Felt) 1970, cut felt, dimensions vary with installation. Process Art – “anti-form” or “post-minimal” sculpture dependent upon gravity and chance, simple cutting process, use of “industrial” not-art material Industrial felt waste arranged by chance for each installation. The artist’s supervision is not necessary.

  29. Eva Hesse, Untitled (Rope Piece), 1970. Between chaos and order / chance and will / reason and unreason / tragedy and absurdity Studio installation by artist

  30. Compare Eva Hesse (1970) with Marcel Duchamp, Sixteen Miles of String, 1942, part of Duchamp’s installation for the First Papers of Surrealism, Peggy Guggenheim’s Art of this Century gallery, NYC

  31. Louise Bourgeois (French American b. 1911); (right) Fillette, 1968, latex, 24in. H

  32. "I wonder," Hesse asked a friend, "if we are unique, I mean the minority we exemplify. The female struggle, not in generaltities but our specific struggle. To me insurmountable to achieve an ultimate expression, requires the complete dedication seemingly only man can attain. A singleness of purpose no obstructions allowed seems a man’s prerogative. His domain. A woman is sidetracked by all her feminine roles from menstrual periods to cleaning house to remaining pretty and ‘young’ and having babies. . . . She is at a disadvantage from the beginning. . . . She also lacks conviction that she has the ‘right’ to achievement. She also lacks the belief that her achievements are worthy" (cited in Lucy R. Lippard’s 1976 biography of Hesse).

  33. Louise Bourgeois with Fillette (1966) 1982, Robert Mapplethorpe photo Erotic absurdity: “girl” jokes Eva Hesse with Ingeminate (1965)

  34. http://channel.tate.org.uk/media/26515653001http://www.pbs.org/art21/artists/bourgeois/index.htmlhttp://channel.tate.org.uk/media/26515653001http://www.pbs.org/art21/artists/bourgeois/index.html Louise Bourgeois, Spiral Woman, 1984, bronze and slate disc; bronze: 11½ in. high; disc diameter: 34 ¾ in.

  35. Louise Bourgeois with sculpture on roof of NY apartment building, c.1944(center) Femme Maison (Woman House) 1947, ink on paper(right) The Listening One 1947-9. bronze (cast in the late 1980s)

  36. Bourgeois’ genealogy: (top left) Alberto Giacometti (Swiss Surrealist, 1901-1966), Suspended Ball, 1930-31, Surrealist sculpture, plaster and metal; (left below) Jean Arp (Alsace-born French, 1886-1966), Head with 3 Annoying Objects, 1930; (right) Bourgeois, The Destruction of the Father, 1974, plaster, Latex, wood & fabric, installation: 93 x 142 x 97”

  37. (right) LouiseBourgeois. Janus Fleuri, 1968, bronze,10 in HSoft Landscape, 1967, (left) Alberto Giacometti, Spoon Woman (Femme cuillère), 1926, bronze, 56 in. H

  38. Bourgeois, Spider, steel and mixed media, 1996

  39. Bourgeois, Maman, 35 ft H, Tate London, 1999

  40. Louise Bourgeois, Passages Dangereux, 1997

  41. Louise Bourgeois, Cell (Glass Spheres and Hands), 1990-93, glass, marble, wood, metal, and fabric; 86 x 86 x 83 inches.

  42. http://www.youtube.com/watch?v=o7XZ672XmbM&NR=1 Louise Bourgeois Couple IV, 1997, fabric, leather, stainless steel, plastic, wood and glass in a Victorian vitrine 72 x 82 x 43 in.

  43. Louise Bourgeois, Temper Tantrum, 2000, pink fabric “My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.”

  44. Lygia Clark (Brazil, 1920-1988) Rio de Janeiro 1958

  45. (left) Lygia Clark, Relief Painting with Yellow Square, oil, 1957, 30 in. HBrazilian Neoconcretism compare: Kasimir Malevich, Suprematism, White on White, 1918

  46. Lygia Clark, Sundial, 1960, 3 views, Neoconcretism compare with (lower right) Max Bill, 1947-8 Tripartite Unity ( a möbius) Concretism

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