1. Post-Minimalism: Earth Art/Land Art, Process Art, and Arte Povera

2. Post-Minimalism The term Post-Minimalism is used to designate art that is inuenced by or aAempts to develop beyond the aestheCc of Minimalism. The work of Post-Minimalist arCsts makes a statement against the formal purity of modernism. Post-Minimalist arCsts return work to its natural state, uClize natural materials and natural forces, return art back to the body and back to nature. In visual art, Post-Minimalism refers specically to the work of those arCsts who use Minimalism either as an aestheCc or conceptual reference point. The term refers less to a parCcular movement than an arCsCc tendency. Post-Minimalist artworks are usually everyday objects and use simple materials. Like Post-Impressionism, Post-Minimalism is a blanket term. It includes such a diverse and disparate group of arCsts, it is impossible to enumerate all the conCnuiCes and similariCes between them.

3. Post-Minimalism Post-Minimalism is a back to nature movement but it should primarily be thought of as a criCque of form. Post-Minimalist arCsts are inuenced by Conceptualists however, they do value the expressive possibiliCes of material objects. The term applies most to the arCsts shared eort in reacCng to the previous movement of Minimalism. Even criCcs called for an end to Minimalist aestheCc, a challenge to deconstruct Minimalism by new invesCgaCons into abstracCon.

4. Post-Minimalism Stellas shaped canvases from the 1960s helped to inaugurate Minimalist aestheCc. His later work, like the one shown to the right, reect the shiW from Minimalist aestheCc toward process art and art with psychological dimension. Like others, Stella chose to abandon the Minimalist aestheCc of purity and expressed abstracCon in new Frank Stella, The Pequad Meets the forms. Jeroboam: Her Story, Moby Dick Deckle Edges, 1993. Lithograph, etching, aquaCnt, relief, and mezzoCnt, 70 x 65 . Printed and published by Tyler Graphics Ltd.

5. Earth Art Also known as Earthworks or Land Art. Earth Art is born from the scale of Minimalisms large works. Earth arCsts decide to create works outside the museum and gallery space in response to arts commodicaCon in preceding decades. Earthworks were a way for arCsts to free themselves of the gallery system. This however did not turn out to be the freedom they were looking for as many were sCll reliant on funding from galleries and wealthy patrons.

6. Earth Art Land art emerged out of the cultural and social revoluCon that had taken place in 1960s America. The 1960s witnessed the birth of environmentalism on a naConal scale. The protest against the middle-class industrial system that suocated the individual, forcing him or her to survive in a space (the city or factory) as well as destroying any creaCve impulse and any sense of liberty. Land arCsts sought refuge from the commercial world. They wanted their work to be in a space where it was open to all ows of existence, to all the sensaCons and materials in the world, to a total involvement with the forms and experiences of reality. As a result, viewers have to travel to many of these sights. Some, like the Roden Crater, take days to experience. You have to schedule Cme with the arCst, travel, and commit to sleeping there.

7. Earth Art "I think earth is the material with the most potenCal because it is the original source material." -Michael Heizer Michael Heizer, Double Nega?ve, 1969-1970. 240,000 ton displacement of earth, 1,500 x 50 x30 . Located Mormon Mesa, Overton, Nevada.

8. Earth Art Michael Heizer (b. 1944) Heizer is best known for his work, Double Nega?ve located in a remote region of Nevada. Michael Heizer, Double Nega?ve, 1969-1970. 240,000 ton displacement of earth, 1,500 x 50 x30 . Located Mormon Mesa, Overton, Nevada.

9. Earth Art Michael Heizer (b. 1944) This piece was accomplished with the aid of moneys from art dealer Virginia Dwan. To produce this piece the arCst needed to employ bulldozers to excavate the site. He found in the NV desert peaceful, untapped earth of the Mormon Mesa. This piece consists of 2 slices into the earth each 50 deep. They face one another creaCng a site that is 1,500 long and 50 wide. The viewer is placed inside the work, enclosed by it; this is instead of the usual posiCon one has in a museum or gallery where we survey the piece from the outside. Michael Heizer, Double Nega?ve, 1969-70, For Heizer and other arCsts, the Mormon Mesa, Overton Nevada, 50 feet deep; untouched land was a spiritual place 1,500 feet long. (Top image from the southern and desired element for their work. end, boAom image aerial photograph).

10. Earth Art At the center of the work is a void-the result is an enclosed site. Something Yves Klein also created in 1958. Michael Heizer, Double Nega?ve, 1969-1970. 240,000 ton displacement of Yves Klein, or Le Vide (The Void) displayed at earth, 1,500 x 50 x30 . Located the Iris Clert Gallery, Paris, France, 1958. Mormon Mesa, Overton, Nevada.

11. Earth Art Walter de Maria (b. 1935) De Marias early work was heavily inuenced by Dada and other modernist art movements. He gravitated then toward the Minimalist grid and industrially manufactured materials of Post-Painterly abstracCon and Minimalism. During the 1960s, he became involved with arCst John Cage appearing in several Happenings. His work inspired by John Cage Ctled, Cage was included in the 1966 Primary Structures exhibiCon at the Jewish Museum in NY. He produced Minimalist sculptures in the late 1960s including Erdraum of 1968. Walter de Maria, Earth Room, Long-term installaCon at 141 Wooster Street, New York City.

12. Earth Art Walter de Maria (b. 1935) The piece was originally meant to be a 3 month temporary exhibit. It became permanent in 1980. The work consists of the 2nd oor of a building in SoHo being covered with earth. To experience The Earth Room mulC-sensory. When one walks into the space, you can smell the dirt and feel the humidity in the air. The work is watered and raked once a week to maintain its integrity and the dirt is periodically replaced. To realize this piece, de Maria relied on his skills as a Minimalist (the contrast between the white walls and dark dirt), Conceptualist (the idea of an earth room), and Earthwork arCst. All three combine here in a unique environment that, although it dominates the space, does not surround the viewer because visitors cannot Walter de Maria, The New York Earth touch or walk on the dirt. Room, 1977. Long-term installaCon at It remains a liAle bit of earth preserved in a concrete city. 141 Wooster Street, New York City. Dirt 22 deep.

13. Earth Art Walter de Maria (b. 1935) His Earth Room, on view in NYC, is one of his best known works. It is the third Earth Room executed by the arCst. The rst is in Munich, Germany (1968). The second at the Hessisches Landesmuseum in Darmstadt, Germany (1974). These are no longer extant. StaCsCcs: 250 cubic yards of earth. 3,600 square feet of oor space. 22 inch depth of material. Walter de Maria, The New York Earth Total weight of sculpture: 280,000 Room, 1977. Long-term installaCon at 141 lbs. Wooster Street, New York City. Dirt 22 deep.

14. Earth Art Walter de Maria (b. 1935) Lightning Field was commissioned by DIA Art FoundaCon and is maintained by its foundaCon. It is recognized as one of the 20th centurys most important examples of modernist aestheCcs. De Marias maintains his fascinaCon with the Minimalist grid. It exploits the openness of the great western landscape and its weather paAerns. This area is known to have some of the most brilliant and frequent lightning strikes in the U.S. When lit, de Marias Field joins heaven and earth in beauCful display of natures power. Walter de Maria, Lightning Field, 1970-1977. The arCst had thought that given the Permanent Earthwork, 400 stainless-steel rods, with grid design, once one rod was struck a chain reacCon would occur, this is solid stainless steel pointed Cps, arranged in a not the case however. rectangular grid array (16 poles wide by 25 poles long) distance between each 220, the average pole is 20 7 high. New Mexico.

15. Earth Art Walter de Maria (b. 1935) StaCsCcs: It is made up of 400 polished stainless steel poles installed in a grid measuring one mile by one kilometer. The poles are 2 in diameter and average 207 in height. They are spaced 220apart and have solid pointed Cps that Walter de Maria, The Lightning Field, dene a horizontal plane. 1974-77, near Quemado, New Mexico, 400 stainless steel poles, average height 20 7 " Overall dimensions: 5,280 x 3,300 . New Mexico.

16. Earth Art Walter de Maria (b. 1935) Lightning Field is meant to be experienced over an extended amount of Cme. Dia oers overnight visits during the months of May through October. Walter de Maria, The Lightning Field, 1974-77, near Quemado, New Mexico, 400 stainless steel poles, average height 20 7 " Overall dimensions: 5,280 x 3,300. New Mexico.

17. Earth Art Robert Smithson (1938-1973) One s mind and the earth are in a constant state of erosionideas decompose into stones of unknowing. - Robert Smithson Robert Smithson, Chalk-Mirror Displacement, 1969. Sixteen mirrors and chalk, approx. 10 in diameter. Art InsCtute of Chicago.

18. Earth Art Robert Smithson (1938-1973) One reason nature appeals to Earthwork arCsts is that, unlike the gallery or museum, it does not infringe upon the size of the work. Since Abstract Expressionisms crowning as the rst uniquely modern American art style, the dimension of the canvas has reected the inuence of the Mexican mural painters. Sculptors maintain these dimensions and having the open environment as their exhibiCon Robert Smithson, Chalk-Mirror Displacement, 1969. Sixteen mirrors and space allows it. chalk, approx. 10 in diameter. Art InsCtute of Chicago.

19. Earth Art Robert Smithson (1938-1973) Smithsons comment, One s mind and the earth are in a constant state of erosionideas decompose into stones of unknowing, indicates the growing interest of Earthwork arCsts in the natural process of erosion. Their work, like many others, began to look not only at the process of erosion but of the process(es) involved in creaCng art. Fuses inorganic gallery space with organic world. Smithsons displacements bring in organic material from nature into the unnatural environment. Sandston from NJ brought into NYC Gallery (originally). The posiConing with the mirrors creates new forms for the organic materials. Smithson also argued it represented the decomposiCon of maAer and energy (the chalk) and order (the mirrors). The arCst aims to present a formless, shapeless- Robert Smithson, Chalk-Mirror hence anC-formalist art object; a direct challenge Displacement, 1969. Sixteen mirrors and to the strict formalism of Greenbergs legacy. chalk, approx. 10 in diameter. Art InsCtute of Chicago.

20. Earth Art Robert Smithson (1938-1973) Smithsons best known and most RomanCc work is Spiral JeWy. He saw it as, an impassive faint violet sheet held capCve in a stony matrix, upon which the sun poured down its crushing light. To create the piece, he deposited 6,000 tons of earth into the lake to form a giganCc spiral. While excavaCng the site, he found the remains of industries that had used the site in the past like oil barrels. Robert Smithson, Spiral JeWy, 1969-1970. Black rock, salt crystal, and earth, 160 in diameter. Great Slake Lake, Utah.

21. Earth Art Robert Smithson (1938-1973) The spiral is graceful and evocaCve of organic forms. It is a piece that conCnuously re- creates and destroys itself; a testament to the power of nature to constantly reinvent itself. Robert Smithson, The Spiral JeWy, 1970, black basalt, limestone and earth, 1,500 (aerial photograph).

22. maAer collapsing into the lake mirrored in the shape of a spiral. - Robert Smithson Robert Smithson, Spiral JeWy, 1969-1970. Black rock, salt crystal, and earth, 160 in diameter. Great Slake Lake, Utah

23. Earth Art Robert Smithson (1938-1973) It changes colors throughout the seasons (colors range from pinks and reds to blues, and brown-blacks) and throughout the years; it will disappear and then reappear again. Robert Smithson, Spiral JeWy, 1969-1970. Black rock, salt crystal, and earth, 160 in diameter. Great Slake Lake, Utah

24. Earth Art Nancy Holt (b. 1938) Holt is a mulC-media arCst known for her public sculpture. She is the widow of Smithson who died while surveying the site of a work. Her earlier work with photography and video gure in her environmental works. She takes inspiraCon for her earthworks from Americas Nancy Holt, Stone Enclosure: Rock Rings, landscape. 1977-1978. Brown Mountain stone, diameter of outer ring 40, diameter of inner ring 20, height of walls 10. Western Washington University, Bellingham, Washington.

25. Earth Art Her work resembles prehistoric monuments like Stonehenge. Nancy Holt, Stone Enclosure: Rock Rings, 1977-1978. Brown Mountain stone, diameter of outer ring 40, diameter of inner ring 20, height of walls 10. Western Washington Stonehenge, ca. 2500-1600BCE, Wiltshire, University, Bellingham, Washington. England

26. Earth Art Nancy Holt (b. 1938) Stone Enclosure is site specic and cannot be divorced from the space. Using her experience as a photographer Holt carefully calculated the perspecCve of the work. Like Stonehenge it can be used to track stars, the planets, the sun and moon. Stone Enclosure consists of 2 concentric rings formed by stone walls 2 thick and 10 high. The walls are penetrated by 8 high Nancy Holt, Stone Enclosure: Rock Rings, arches and 12 circular holes 34 in 1977-1978. Brown Mountain stone, diameter. diameter of outer ring 40, diameter of inner ring 20, height of walls 10. Western Washington University, Bellingham, Washington.

27. Earth Art Richard Long (b. 1945) Longs A Line Made by Walking evokes the Happenings of Kaprow. It is the artsts rst walking piece. Long strove for an art that was a formal and holisCc descripCon of the real space and experience of landscape and its most elemental materials. The arCsts process is literally walking as he marks the territory he explores intervening with the natural landscape. Longs work is a RomanCc reminder of our history with the landscape as nomads, as pioneers marking new territory. Richard Long, A Line Made by Walking, 1967. A straight line in a grass eld, which was also my own path, going nowhere (England).

28. Earth Art Richard Long (b. 1945) Walking allowed Long to unite performance and the boundaries of sculpture. It allowed the arCst to deconstruct the monument of the walk. He evokes Rauschenberg when he explains his works reside in the space between the monument and just leaving footprints. One is also reminded of the more contemporary concern of how we measure our carbon footprint. His walks become visual metaphor for this concept. These works are universal-anyone in the area can re-create the work, follow his Richard Long, A Line in Scotland, 1981. footsteps, experience the walk with no Framed work consisCng of interference from the art economy. photography and text, 34 x 49 . Private CollecCon, London.

29. Earth Art Richard Long (b. 1945) Like Smithson and de Maria, Long brought the outdoors indoors with his circle works. His indoor works demonstrate the ability to take outdoor monuments into the gallery space. Longs circles become a visual reminder of the performance associated with his walks. They allow the arCst to infuse the urban environment with the natural world. Richard Long, Ocean Stone Circle, 1990. Stones, 13 in diameter. Virtuelle Diathek, LA.

30. Earth Art Some of his later works recall the work of Minimalist sculptor, Carl Andre. Richard Long, Cornwall Slate Lines, 2003, 168 slate stones, approximately 334 long. InstallaCon dimensions: 6 x 334 3/5 x 30. Exhibited London, Haunch of Venison, Richard Carl Andre, Cedar Tango, 2002. 26 Western Long: Here and Now and Then, June 11 - Red Cedar Cmbers, 11.8 x11.8 x September 27, 2003. 35.4 Konrad Fischer Gallery, NY.

31. Earth Art His Mud Circle is an organic reminder of Johns Target. Richard Long, Red Mud Circle, 1994. Jasper Johns, Target, 1958. Oil and Terra coAa clay and black acrylic paint collage on canvas, 36 x 36. on wall 148 diameter. Private CollecCon of the ArCst. CollecCon.

32. Earth Art Richard Long (b. 1945) Some of Longs works take a more Conceptualist approach. His use of his own body not only marries his Earthworks with Performance and Body art, but the humble materials used echo those of Italys Arte Povera arCsts. Richard Long Walking to a Solar Eclipse, 1999. Wall text 79 x 220. Exhibited Sperone Westwater.

33. Earth Art Andy Goldsworthy (b.1956) Goldsworthy is known for his site- specic Earthworks that make use of the enduring and the ephemeral. He concentrates of creaCng works that reveal how humans have shaped nature and conCnue to rely and desire it. He embraces the character of the site and highlights it in eort to bring the audience in communion with nature. His works facilitate a relaConship with nature. Andy Goldsworthy, The Wall at Storm King, 1997-1998. Fieldstone, approx. 5 x 2,278 6 long overall.

34. Earth Art Andy Goldsworthy (b.1956) His local piece, The Wall at Storm King features rock from the surrounding area arranged in a serpenCne wall throughout the park. The wall winds around trees, travels to the water and reemerges on the other side. The wall does not interfere with the environment it merely coexists with it. Goldsworthy wants viewers to thinks of themes of travel of the self in and of the environment. He takes the iconic image of a stone wall and uses it to remind one of strolls in the woods. Andy Goldsworthy, The Wall at Storm King, 1997-1998. Fieldstone, approx. 5 x 2,278 6 long overall.

35. Andy Goldsworth, The Wall at Storm King, 1997-1998. Fieldstone, approx. 5 x 2,278 6 long overall. Images of the wall as it meets the water

36. Andy Goldsworth, The Wall at Storm King, 1997-1998. Fieldstone, approx. 5 x 2,278 6 long overall. Images of the wall as it meets the water aWer a Winter snowstorm

37. Earth Art James Turrell (b.1943) James Turrells largest endevor is his project at Roden Crater (sCll under construcCon). Roden Crater is a mix of environmental architecture, installaCon art, and observatory. Roden Crater can be related to the earliest examples of humans manipulaCng the environment (Nanna Ziggurat and Stonehenge to Smithsons Spiral JeWy.) James Turrell, Roden Crater, near Flagsta, Arizona, in progress since 1980. Cinder cone volcano, approximately 540 and 800 diameter. Sedona, AZ.

38. Light and Space Movement James Turrell (b.1943) James Turrell is commonly associated with the Light and Space Movement. He used projected light to create Minimalist composiCons that also funcCon as opCcal illusions. He describes his work as being not minimalist or conceptual, but perceptual. James Turrell, Afrum-Proto, 1966 (corner projecCon) Quartz halogen projecCon. Installed at Art Tower Mito, Ibaraki, Japan.

39. James Turrell, Roden Crater, near Flagsta, Arizona, in progress since 1980. Cinder cone volcano, approximately 540 and 800 diameter. Sedona, AZ.

40. Satellite view of Roden Crater. James Turrell, Roden Crater, near Flagsta, Arizona, in progress since 1980. Cinder cone volcano, approximately 540 and 800 diameter. Sedona, AZ.

41. Post-Minimalism Site Specic Art

42. Post-Minimalism Magdalena Abakanowicz (b. 1930) Fiber sculpture suspended from the ceiling. Abakanowicz joins an interest in process and organic materials with female imagery. She takes much of her inspiraCon from her Polish culture and the materials Polish women use to create uClitarian objects. She works with bers because of Magdalena Abakanowicz, Red Abakan, the organic bond between plants 1969. Self-devised technique, sisal and and humans. mixed media, 9.8 x 9.8 x 11.5 Tate, London.

43. Post-Minimalism Magdalena Abakanowicz (b. 1930) Postwar art was dominated by abstracCon. Not many arCsts focused on the form, especially arCsts creaCng site- specic works. Abakanowicz is unique in that many of her site-specic works focus on the form. She is known for her serial groups of bodies known collecCvely as Backs. Magdalena Abakanowicz, Backs, 1976-1980. Burlap and resin, 80 pieces, each approx. 25 x 21 x 23 . Installed near Calgary, Canada, 1982. CollecConMuseum of Modern Art, Pusan , South Korea.

44. Post-Minimalism Magdalena Abakanowicz (b. 1930) The seriality of Backs is inherited from Pop and Minimalist art. The dening characterisCc of the piece however is the detail and texture one nds on each sculpture. The texture she accomplishes using burlap and resin makes the scene look from afar like the backs of people huddled over in group meditaCon or acCvity. Each body is part of the whole. The bodies do not have heads and Magdalena Abakanowicz, Backs, only hints of arms and legs. This makes for an uncomfortable and 1976-1980. Burlap and resin, 80 pieces, disturbing aspect to the piece. each approx. 25 x 21 x 23 . Installed near Calgary, Canada, 1982. CollecConMuseum of Modern Art, Pusan , South Korea.

45. Post-Minimalism Pablo Picasso (1881-1973) With one of the most prolic bodies of work, it is someCmes easy to forget that the father of Cubism conCnued to adapt his signature style well into the 20th century. Chicago Monument, more commonly referred to as The Picasso represents the arCsts mature work. It is is monstrous in scale and ambiCon. Picasso created this public work at a Cme when movements like Conceptualism were rejecCng the form for the idea or concept. The return to a solid form by one of the most important gures of modern art is strategic. Pablo Picasso, Chicago Monument, 1966. Welded steel, 659 high. Civic Center, Chicago.

46. Post-Minimalism Pablo Picasso (1881-1973) The Picasso is located in Daley Plaza in the Chicago Loop. It is nearly 66 high and weighs 162 tons. It was the rst major public artwork for the city. It was commissioned in 1963 by the architects of the Richard J. Daley Center. The urban environment had been replaced by Earthwork arCsts looking for untamed land and an alternaCve to the gallery space. Pablo Picasso, Chicago Monument, 1966. Welded steel, 659 high. Civic Center, Chicago.

47. Post-Minimalism Pablo Picasso (1881-1973) The Picasso was controversial when rst introduced to the public. Chicago, like most ciCes, had a tradiCon of historical gures as its public sculpture-abstract design was new. The design of the piece suggest biomorphic form, some hybrid form of sorts. Picasso never explained the form or the inspiraCon for it although some, including his grandson, believe it was inspired by a young girl the arCst had met in France. The importance of the piece lies not in its design, although it does reinsert the aestheCc object back into art, but in its trailblazing for public works, especially of the non-representaConal sort. Pablo Picasso, Chicago Monument, 1966. Welded steel, 659 high. Civic Center, Chicago.

48. Claes Oldenburg (c. 1929) ArCst Claes Oldenburg rst came on the art scene as a Pop arCst in NYC. At that Cme rented out space in ManhaAan for his Store. There he sold many Pop works of the banal. Claes Oldenburg, The Store, located 107 East 42nd Street, NYC, December 1961.

49. Iconic works by the arCst include his Cake (1962) and Dropped Cone (2001). Claes Oldenburg and Coosje van Bruggen, Dropped Cone, 2001. Stainless and Claes Oldenburg, Floor Cake (Giant Piece galvanized steels, ber-reinforced plasCc, of Cake), 1962. SyntheCc polymer paint balsa wood; painted with polyester gelcoat, and latex on canvas lled with foam 39 10 high x 19 diameter. Situated on top rubber and cardboard boxes, 4 10 x of a shopping centre in the Neumarkt area 9 6 x 4 10 . Museum of Modern of Cologne, Germany. Art, NYC.

50. Claes Oldenburg Typewriter Eraser, 1976. Painted aluminum, stainless steel, ferroconcrete and bronze, 89 x 80 x 70 . New York Claes Oldenburg, Clothespin, 1976. Cor-Ten and stainless steel, 45 x 12 3 x 4 6 . Philadelphia.

51. Claes Oldenburg, System of Iconography - Plug, Mouse, Good Humor, Lips?ck, Switches, (formerly Objects as Icons)1970-1. Colored pencil on graph paper, 20 x 15 Claes Oldenburg, Lips?ck Monument: Ref.: Monument for Yale University: det.: three stages of extension, c. 1969. Cardboard and canvas

52. Cleas Oldenburg, Lips?ck (Ascending), 1969 installed Beinecke Plaza, Yale University. Plywood tracks and a red vinyl balloon Cp, meant to be inated for visibility. Lips?ck (Ascending), rebuilt and relocated, 1974. Cor-ten steel, aluminum, and berglass and installed at Morse College courtyard, Yale University.

53. Post-Minimalism Claes Oldenburg (c. 1929) Oldenburg conCnued to create his large scale sculptures throughout the 1970s and 1980s. Works like Spoonbridge and Cherry are, like Picassos piece, site-specic. Site-specic means the work is create, conceived and designed, with the parCcular locaCon in mind. The specicity will determined dimension as well as composiCon. NoCce the arCst maintains a similar subject maAer to the work he began in the 1960s-celebraCng the banal in a playful and entertaining way with the spoon and cherry. The design is graceful and colorful. Claes Oldenburg and Coosje van Bruggen, The cherrys stem even spouts water Spoonbridge and Cherry, 1985-1988. during the warm months. Aluminum, stainless steel, and paint, 296 x 516 x 136. Walker Art Center, Minneapolis.

54. Post-Minimalism Claes Oldenburg (c. 1929) Oldenburg, like many other arCsts, beneAed from the U.S. Percent for Art policy. This policy states that half of 1% of the cost associated with any newly erected federal building must be dedicated to the beauCcaCon of the space through sculpture. Because these sculptures needed to enhance the specic space, they were site-specic. Commissioned 1975 by the Art in Architecture Program of the United States General Services AdministraCon in conjuncCon with the NaConal Endowment for the Arts. Installed April 13, 1977. Inaugurated April 14, 1977. This program resulted in the construcCon of many Claes Oldenburg and Coosje van public sculptures. Bruggen, Batcolumn, 1977. Steel The design for this piece was decided upon for and aluminum painted with several reasons: the history of the sport in the city, polyurethane enamel, 96 8 the resemblance of the bat to tradiConal high x 9 9 diameter, on base 4 architectural columns, the echo of shape in the high x 10 diameter. Harold smoke stacks and skyscrapers throughout the city. The most notorious of which is Tilted Arc. Washington Social Security Center, 600 West Madison Street, Chicago.

55. Post-Minimalism Richard Serra (b. 1939) ArCst Richard Serra has become best known for his public works monument, Tilted Arc. His early work was Minimalist inspired and process oriented; it consisted of Serra splashing molten lead against the wall or oor. Serra worked at steel mills to support himself and the experience forever inuenced his work. Commissioned in the mid-1970s, Tilted Arc was installed in 1981. It is made of Cor-Ten steel, a material the arCst sCll works with today. The arCst chose this type of steel because of Richard Serra, Tilted Arc, 1981. its integrity, it does not need to be painted Hot-rolled steel, height, 12, length 120. Original sight Federal and forms a protecCve rust. Plaza, Foley Square, NY. Removed in 1989.

56. "I dont think it is the funcCon of art to be pleasing," he comments at the Cme. "Art is not democraCc. It is not for the people." Richard Serra, Tilted Arc, 1981. Hot-rolled steel, height, 12, length 120. Original sight Federal Plaza, Foley Square, NY. Removed in 1989.

57. Post-Minimalism Richard Serra (b. 1939) Tilted Arc was installed in Foley Square in NY in 1981. The design was created to echo the shaped of the square while also serving as a counterpoint to the arcs in the bricks. As its name suggests, the arc is Clted and hovers precariously in the plaza. Richard Serra, Tilted Arc, 1981. Hot-rolled steel, height, 12, length 120. Original sight Federal Plaza, Foley Square, NY. Removed in 1989.

58. Post-Minimalism Richard Serra (b. 1939) Complaints surfaced almost immediately about the piece. Concerns that it would contribute to the delinquency of the area by allowing would be muggers and rapists a place to hide were a major argument. People also argued it did nothing to beauCfy the space, that it created a division in the plaza where people could have lunch, and enjoy the outdoors, (prior to its construcCon the plaza was never used) and was an obstacle for people walking through the space. Others just argued it was ugly and not Richard Serra, Tilted Arc, 1981. Hot-rolled worth the money spent, $175,000. steel, height, 12, length 120. Original sight Federal Plaza, Foley Square, NY. Removed in 1989.

59. Post-Minimalism Richard Serra (b. 1939) Complaints against the sculpture resulted in a public hearing in March 1985. The trial was an art world aair. 122 people tesCed the work was art, did not pose a threat, and should not be removed. 58 people tesCed against the work. One person against the piece was Chief Judge Edward D. Re. The case was sent to jury with a vote of 4-1 for removal. Serra appealed the case based on the argument that the work was site-specic and removing it would destroy it. Richard Serra, Tilted Arc, 1981. Hot- rolled steel, height, 12, length 120. Original sight Federal Plaza, Foley Square, NY. Removed in 1989.

60. Post-Minimalism Richard Serra (b. 1939) On March 15, 1989 under the cover on night, Federal Workers removed Tilted Arc. The work was cut into three chunks and hauled to a scrap metal yard in NJ. The piece was destroyed and has never been recovered. Night Cme removal of Tilted Arc March 1989.

61. Post-Minimalism Maya Ying Lin (b. 1960) Also Minimalist inspired is the 1982 work, Vietnam Veterans Memorial designed by Maya Lin. The Vietnam Memorial was commissioned in 1981. The commission involved an open-call to arCsts and architects to present designs for a memorial to remember the people that died during the Vietnam War. The war was sCll a very controversial topic in Maya Lin, Vietnam Veterans the U.S. Memorial, 1982. Black granite, length 500 . The Mall, Washington, D.C.

62. Post-Minimalism Maya Ying Lin (b. 1960) At the Cme of the design compeCCon, Lin was 21 and an undergraduate at Yale University. Her design was chosen over the 1,420 others submiAed. The concept behind Lins design was to present a monument that looked like an open gash or wound in the earth. The material used was to be black granite polished to a high shine and inscribed on its surface the names of the 58,261 fallen soldiers carved into its face in order of death. Maya Lin, Vietnam War Memorial original design submission.

63. Post-Minimalism Maya Ying Lin (b. 1960) Lins work is Minimalist in its design, a smart choice by the arCst because creaCng a memorial to recognize for such a contenCous war was tricky to negoCate. There was some hesitaCon due to the strictly abstract design and many called for guraCve sculpture to be added at the apex. FiguraCve sculptures were added some distance away to maintain the integrity of the original design. There was some controversy aWer Lins name and heritage were revealed. The arCst believes if the contest were not a blind one, she would not have been picked because of her Asian background. Nevertheless, her monument has Maya Lin, Vietnam Veterans Memorial aerial gone on to be one of the most visited view, 1982. Black granite, length 500 . The and iconic of the 20th century. Mall, Washington, D.C.

64. Post-Minimalism Visitors to the memorial are allowed to place mementos and token near the name of their loved one and to take a rubbing of the name. Vietnam Veterans Memorial, 1982. Black granite, length 500 . The Mall, Washington, D.C.

65. Post-Minimalism The highly polished surface reects the image of the viewer as s/he looks at the names inscribed on the stone. Maya Lin, Vietnam Veterans Memorial, 1982. Black granite, length 500 . The Mall, Washington, D.C.

66. Post-Minimalism Process Art

67. Process Art Process Art displays a concern as much for the process of creaCon as it does for the nal product. The object dart is not the focus, the process of creaCon is the central focus. Process art has its roots in the work of Jackson Pollock and his drip process. Like Dada, it also embraces chance as part of the creaCve method.

68. Process Art Process art has been pracCce in the United States and Europe since the 1960s. In 1968, the Guggenheim Museum hosted a show of Robert Morris work and with it published a dening essay discussing Process art. It states: Process arCsts were involved in issues aAendant to the body, random occurrences, improvisaCon, and the liberaCng qualiCes of nontradiConal materials such as wax, felt, and latex. Using these, they created eccentric forms in erraCc or irregular arrangements produced by acCons such as cuyng, hanging, and dropping, or organic processes such as growth, condensaCon, freezing, or decomposiCon. Like environmental arCsts, Process arCsts embrace the organic and will usually uClized perishable materials in their work. This use of humble materials relates it to the Arte Povera arCsts of Europe.

69. Process Art Process art is usually seen as a counter to the stability and longevity of Minimalism. Process art is born out of the environmental movement and like Earth arCsts, Process arCsts embrace the fragility of certain materials and allow Cme to be part of the creaCve force determining their work.

70. Process Art Robert Morris (b. 1931) Like many arCsts, Morris transformed his work from the Minimalist designs he had been creaCng to the process-driven works of the late 1960s. Tangle is characterisCc of the arCsts Process art. His felt is allowed to hang from the wall and pool on the oor, gravity being one of the primary forces in realizing the piece. Much of his Process art reinterprets Minimalist aestheCc. Robert Morris, Un?tled (Tangle), 1967. Felt, Dimensions variable, approximately 9 8" x 8 10" x 58. Museum of Modern Art.

71. Process Art Eva Hesse (1936-1970) Hesse is best known for her pioneering work in materials such including latex, plasCc, and berglass. Her work is amongst those arCsts leading the move from Minimalism to what was known in the 1960s as a postminimal anC- form trend, later to be associated with Process art. Eva Hesse, Accession II, 1968. Galvanized steel vinyl, 30 x 30 x 30 . Detroit InsCtute of Arts.

72. Process Art Eva Hesse (1936-1970) Accession II takes the hard material of steel and makes it look soW, plush, and inviCng. Each side is hand craWed and the hair-like appearance inside the cube is actually rubber tubing that had to be woven through holes in the sides by hand. Her detail-oriented process greatly contradicts the cool process of Minimalism. Eva Hesse, Accession II, 1968. Galvanized steel vinyl, 30 x 30 x 30 . Detroit InsCtute of Arts.

73. Accession II recalls Smiths Die created just a few years earlier. Hesses work, however, is smaller in scale and more inCmate. Eva Hesse, Accession II, 1968. Galvanized Tony Smith, Die, 1962. Steel, ediCon of three, steel vinyl, 30 x 30 x 30 . Detroit 6 x 6 x 6. Private CollecCon. InsCtute of Arts.

74. Process Art Eva Hesse (1936-1970) Hesse is best known for her experimentaCon with new materials. Hesses work always allowed for the forms to emerge with the aid of natural forces. Here she relies on gravity to weigh on her cheesecloths. The order of design resembles the seriality of Minimalism. The introducCon of gravity and the weight of the latex and berglass introduces a fragility to the piece as it weighs heavily to the oor and becomes vulnerable. Eva Hesse, Con?ngent, 1969. The work straddles categorizaCon as Cheesecloth, latex, and berglass sculpture and painCng and even in 8 panels. InstallaCon, 12 x theatre as the viewer must negoCate 9 4 x 3 2 . NaConal Gallery each individual secCon. of Australia, Canberra.

75. Process Art Lynda Benglis (b. 1941) Benglis became known for her process driven work and notorious for her exhibiCon announcement which caused the division amongst arCsts and criCcs and resulted in the formaCon of October magazine. Lynda Benglis, Bounce, 1969. Poured, colored latex, size variable. Private collecCon.

76. Process Art Lynda Benglis (b. 1941) Benglis work uses process to explore the collision of painCng and sculpture. Her process consists of pouring/spilling dierent materials onto the oor. She had done this previously with bronze. She is interested in seeing and allowing the liquid to nd its own shape. She eventually moved from molten bronze to the electric Lynda Benglis, Bounce, 1969. colored latex seen here. Poured, colored latex, size variable. Private collecCon.

77. Process Art Lynda Benglis (b. 1941) The inuence of Pollock is clearly evident here in images of the arCst painCng on the oor. She is not the only arCst to use the spill technique. Serra also poured and threw molten lead before creaCng Tilted Arc. Her works are very process driven-they are choreographed to a point and then allow the natural behavior of the latex to determine the nal shape of the piece. Lynda Benglis, latex oor painCng, Rhode Island, 1969

78. What earned the arCst notoriety was this ad placed in Arcorum magazine. Tired of being underrepresented in the artworld, Benglis forged a very aggressive campaign to promote her shows. She placed this as in Arforum featuring herself naked, with the excepCon of sunglasses and a large double-ended dildo. The ad obviously caught the aAenCon of most in the art community. She was criCcized for being vulgar, for giving men what they wanted to see, for Susan IngleA Gallery, NYC The top using her body to sell herself and her porCon of the Benglis ad, a color work. photograph of Lynda Benglis that appeared in Ar{orum magazine in 1974.

79. What Benglis was really doing was adopCng the visual vocabulary oWen used by men to sell their shows. Benglis, who collaborated with Morris, originally wanted the ads to run together side by side like pin-ups. AWer introducing the dildo however she felt the phallus was enough of a representaCon of power to not need Morris. He ran his own anyway in the same ediCon. Published in the same magazine, Arcorum, Morris was not criCcized for his publicity image and there was no scandal surrounding his evocaCon of the S&M lifestyle. Benglis argued that the negaCve aAenCon she received was proof that male arCsts are encouraged to promote themselves Susan IngleA Gallery, NYC The leW porCon of the whereas women are not. Benglis ad, a color photograph of Lynda Benglis What happened aWer the ad was published that appeared in Arcorum magazine in 1974. led to the formaCon of Ocotber magazined The right porCon is the butch S&M ad used by when writer Rosalind Krauss leW Arcorum Robert Morris in the same issue of Arcorum over the controversy. magazine.

80. Post-Minimalism Arte Povera

81. Arte Povera Originated in Turin, Italy. The movement began in 1967 from the relaConship between the criCc, Germano Celant and his associaCon with arCsts: Michelangelo PistoleAo, Mario Mena, Jannis Kounellis, Luciano Fabro, Giovanni Anselmo, Pier Paolo, Calzolari, Guilio Paolini, Alighiero Boey, Guiseppe Penone, Gilberto Zorio, and Emilio Prini. Celant was instrumental in realizing the revoluConary nature of their work and organized 2 shows and a book featuring their work. Arte Povera is related to the late 1960s move to quesCon the art system and to create work that operated outside of it and tradiConally aestheCcs. Arte Povera arCsts favor direct experience over representaCon. They use humble materials. Arte Povera arCsts sought to create a new relaConship with the world of things, especially nature. PracConers of Arte Povera wanted their work to become one with nature. They desired a new language for art. Their work has been linked to American Earth Art and Pop art. Arte Povera arCsts wanted to understand themselves as well as nature.

82. Arte Povera Michelangelo PistoleAo (b.1933) Best known of the Arte Povera arCsts is PistoleAo. He is an arCst and art theorist. His work is reecCve and unites art with the common and everyday world. He hoped to unite these, the modern and historical by using iconic sculptures and juxtaposing them with the contemporary. Michelangelo PistoleAo, Venus of the Rags, 1967/1974. Marble and texCles, 83 x 134 x 43 . Tate, London.

83. Arte Povera Mario Merz (1925-2003) Merzs work displays his fascinaCon with the relaConship between nature and contemporary life. He uses materials that represent the contrast of the two. His igloos join the natural and the man-made. TradiConally, igloos use natural materials like earth, twigs, and mud during construcCon. Mario Merz, Giap Igloo-If the Enemy Masses Merz re-creates this with man- His Forces, He Loses Ground; If He ScaWers, He made materials like wax, tubing, Loses Strength, 1968. Metal tubes, wire and plaster. mesh, wax, plaster, and neon tubes, height 3 11 and 6 6 in diameter. Muse NaConal dArt Moderne, Centre dArt et de Culture Georges Pompidou, Paris.