Art Appreciation PowerPoint Presentation-example

Minimalist Art Gallery Presentation John Smith Professor Jones December 1, 2014

Minimalist Art: Introduction

Self conscious movement in 1960s (Wolf, N.D.).

Artists created work that was hard to define as either painting or sculpture (Wolf, N.D.).

Pieces were unitary, geometric forms and made from industrial materials (Wolf, N.D.).

Vastly different from the expressive works of their predecessors, these artists wanted to create objects with no connections outside of itself (Wolf, N.D.).

Challenged the viewer to look at art without connecting it to something else.

(Wolf, N.D).

 

Wolf, J. (N.D). Minimalism. The Art Story.org. Retrieved from http://www.theartstory.org/movement-minimalism.htm

 

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Minimalist Art: Introduction

I chose Minimalist Art because I was curious about the simple design.

I am interested in learning what messages are conveyed and why artists chose this style.

Birth of Minimalist Art

World is new and scary after WWII

Artists felt art should change, since world changed (Frank, 2014).

Mark Rothko’s color field paintings meant to evoke various moods foreshadow later Minimalist art (Frank, 2014).

 

 

.

 

Frank, P. (2014). Prebles’ Artforms (11th ed.). Boston, MA: Pearson.

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Minimalist Principles

The most important part of minimalist artwork is the material used. Artist’s are not concerned with emotion or narrative; they simply want to to literally focus on the object in front of you.

In other words: a work of art should not refer to anything other than itself. As minimalist painter Frank Stella once said: “What you see is what you see” (http://www.britannica.com/EBchecked/topic/384056/minimalism).

Minimalist Objectives

The minimalist artists wanted the viewer to have an immediate, purely visual response and let him experience all the more strongly the pure qualities of colour, form, space and materials.

Minimalism wanted to de-mystify art and reveal its most fundamental character: the medium and materials of the work were its reality, and that is was what the artists wanted to portray (http://understandingminimalism.com/introduction-to-minimal-art/).

Mark Rothko No.5/No.22 1949 9’ 9” x 8’ 11 1/8”

(Rothko, 1950)

 

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Mark Rothko Untitled 1968 17 7/8” x 23 7/8”

(Rothko, 1968)

 

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Mark Rothko Blue, Orange, Red 1961 90 1/4” X 81 1/16”

(Rothko, 1961)

 

 

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Mark Rothko

Visual Elements

Huge paintings of abstract colors.

Used colorfield paintings as a new form of expressing emotion and feeling.

Shimmering color effect used to convey a sense of spirituality.

Mark Rothko

Design Principles

Compositions are unified through large areas of color.

Symmetrical balance.

Contrasts through intense and dull colors.

Large scale artwork.

 

Donald Judd Untitled 1980 229 x 1016 x 787 mm

http://www.tate.org.uk/art/artworks/judd-untitled-t03087

 

 

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Donald Judd

Visual Elements

Used highly finished, industrialized materials, such as iron, steel, plastic, and Plexiglas to give his works an impersonal, factory aesthetic.

Presented work in a serialized manner, related to the standardization and de-subjectifying nature of identical, multiple forms in consumer culture.

Multiple was another way to reinforce art’s materiality.

Method seen as a part of the democratization of art, to make art more accessible to more people, because it was composed of fabricated parts.

 

Donald Judd

Design Principles

Unified and repeating elements.

Symmetrically balanced work.

Rhythmic large scale squares create vertical space.

Dan Flavin “monument” 1 for V. Tatlin 1964 8′ x 23 1/8″ x 4 ½”

(Judd, 1980)

 

 

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Dan Flavin

Visual Elements

fluorescent lights mounted on painted wood armatures.

concerned with real space as a formal device, industrial materials, and simplified forms.

mounted his structures in corners so that the ambient light softened the rectangular space of the room.

used factory-made fluorescent lights in standard lengths and colours, thereby taking light as a found object.

Dan Flavin

Design Principles

Unified, symmetrically balanced sculptures.

Uses large scale artwork to emphasize surroundings.

Florescent light material becomes the repeating element in artwork.

 

Frank Stella Ctesiphon I 1968 120 x 240 in.

(Stella, 1968)

 

 

 

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Frank Stella

Visual Elements

nonrepresentational painting

Stella focuses on the basic elements of an artwork – color, shape, and composition.

his shaped canvases underscored the “object-like” nature of a painting

tension between the arrangement of colors on the flat surface of the canvas as well as the optical effect of the advancing and receding forms.

Frank Sella

Design Principles

Variety is achieved from diverse colors.

Shapes become moving pattern.

Asymmetrical balance of shapes, colors, and canvas.

Shapes move our eyes around the artwork creating directional forces.

Repeating elements of half circles.

Minimalist Art in Theories

Formal Theory

Minimalist Artists rebelled against what was previously done, even through their media. Instead, they chose to branch out into industrial materials not associated with art, to create art that was a statement about consumerism.

Minimalist Art in Theories, cont.

Contextual Theory

Minimal Art sprang from artists asking how far they could push art. After WWII, artists were creating art that was highly emotional, so could Minimal Artists create emotionless, factory made art – and have it still be art?

Minimalist Art in Theories, cont.

Expressive Theory

Minimalist Artists chose not to have any meaning in their work beyond the work itself.

 

Comprehensive Statement

During my investigation into the Minimalist Art Style, I learned that the simple design was not created by chance. The art world had moved in so many different directions, society was becoming more and more consumer driven, and artists wanted a new way to express what they were feeling about the consumer driven world around them, yet they wanted work that did not convey feeling. The question became, “Can art be anything?” And I think it can. I feel like art can be anything created, even manufactured, as the Minimalists have shown.

 

Comprehensive Statement

Minimalist artists created work that essentially was all about the materials, had no emotions, and was completely straightforward. Yet, even with the artwork asking nothing of the viewer, we still question it’s existence.

Comprehensive Statement

Art cannot work in a vacuum, it is a culmination of society, the world, and how the artist encounters everyday life. Art can be anything the artist creates, because the artist is sharing their version of the world and how it works.

References

Frank, P. (2014). Prebles’ Artforms (11th ed.). Boston, MA: Pearson

 

Judd, J. (1980). Untitled [Steel, aluminium and Perspex]. Retrieved from http://www.tate.org.uk/art/artworks/judd-untitled-t03087

 

Rothko, M. (1950). No.5/No.22 [Oil on canvas]. Retrieved from http:// www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5047&page_number=9&template_id=1&sort_order=1

 

Rothko, M. (1961). Blue, Orange, Red [Oil on canvas]. Retrieved from http://www.saatchigallery.com/museums/FullSizeMuseumPhotos/ac_id/193/image_id/1126/imageno/15

 

Rothko, M. (1968). Untitled [Synthetic polymer paint on paper]. Retrieved from http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5047&page_number=17&template_id=1&sort_order=1

 

Stella, F. (1968). Ctesiphon I [Polymer and fluorescent polymer paint on canvas]. Retrieved from http://moca.org/pc/viewArtWork.php?id=110

 

Wolf, J. (N.D). Minimalism. The Art Story.org. Retrieved from http://www.theartstory.org/movement-minimalism.htm

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