Modernism to Minimalism Art
In "Modernist Painting," Clement Greenberg outlines the teleological development of modernist art, focusing on the evolution of painting through a process of self-critique. He connects modernism to the philosophical tradition of Kant, arguing that modernist art critiques its own methods not to subvert them, but to reinforce its autonomy and competencies. Greenberg emphasizes that each medium, in its modernist form, aims to clarify and purify its distinctive characteristics, rejecting influences from other art forms and popular culture—what he refers to as "kitsch." In painting, this manifests as a focus on flatness and the rejection of illusionistic space, asserting the inherent two-dimensionality of the medium. Greenberg’s view is that this process is not a radical break from tradition, but rather a natural evolution within the historical trajectory of art, with each work contributing to a larger, often unconscious, unfolding of artistic self-awareness.
Read more: https://www.yorku.ca/yamlau/readings/greenberg_modernistPainting.pdf
Judd
In his 1965 essay "Specific Objects," Donald Judd develops his philosophy of Minimalism, advocating for art that highlights the physical presence and materiality of objects. Moving away from traditional sculpture, Judd introduces "specific objects" defined by their form, scale, and material, devoid of representational or symbolic meaning. The viewer’s focus should be on the object’s inherent qualities rather than external narratives or associations. Similarly, Robert Morris emphasizes the physical interaction between the viewer and the object, prioritizing the bodily experience over visual illusion. His minimalist work centers on space, scale, light, presence, and absence. In “Notes on Sculpture,” Morris argues that "simplicity of shape does not necessarily equate with simplicity of experience," noting that the work shifts with the viewer's changing perspective. By stripping away expression and emotion, Minimalism departs from personal or biographical readings, instead offering an impersonal, direct experience. Influenced by Greenberg, Michael Fried critiques Judd and Morris’s work, which he refers to as "literalism." Fried argues that their pieces blur the lines between "art" and "object," reducing their works to physical entities rather than creating autonomous artistic experiences. Though Fried acknowledges the shift in the viewer's relationship with the work, he contends that this does not elevate the pieces to art but renders them mere collections of objects.
Morris
In his essay "The Crux of Minimalism," Hal Foster argues that Minimalism represents a pivotal moment in art history, challenging traditional ideas of formalist autonomy while also reinforcing them. Foster emphasizes Judd’s essay “Specific Object” as a manifesto against traditional art criticism that seeks meaning beyond the physical form, viewing it as a connecting point to modernism and the progression of art. While Minimalism strives for formal purity by eliminating unnecessary elements, it paradoxically exposes the limitations of this autonomy by linking the artwork to its environment and the viewer’s perception. In doing so, Minimalism breaks down the boundaries between art and life, paving the way for the more conceptual, diverse practices that characterize Postmodernism. In Abstract Bodies, Geyst opens the gate farther by applying bodies to abstract sculpture. Chave aligns with the fact that minimalist art is not neutral but emphasizes how gender, specifically masculinity, and the power of institutions plays a role that should not be ignored. Trying to claim neutrality is problematic as it covers for deeper underlying issues which prevent growth and change.