LaurieAnnie's photos with the keyword: Minimalism

The Diagonal of May 25, 1963 (To Robert Rosenblum) Artist: Dan Flavin (American, New York 1933–1996 Riverhead, New York) Date: 1963 Medium: Cool white fluorescent light Dimensions: 96 x 3 3/4in. (243.8 x 9.5cm) Classifications: Sculpture, Variable Media Credit Line: Gift of Peter M. Brant, 1974 Accession Number: 1974.373.5a, b A milestone of Minimalist art and the very first of Flavin’s fluorescent-light sculptures, this work exists in nine versions. The first, in yellow, is dedicated to the modernist sculptor Constantin Brancusi, while this, the second, in "cool white," honors the renowned art historian Robert Rosenblum—an early proponent of downtown New York artists of the 1960s. The Diagonal joined a selection of Flavin’s other fluorescent sculptures in a groundbreaking show at New York’s Green Gallery in the fall of 1964, where the pieces flaunted their banal and utilitarian origins—they are simple fixtures ordered from a supplier in Brooklyn—while flooding the walls and floors of the gallery with colorful, painterly light. Text from: www.metmuseum.org/art/collection/search/481231

The Diagonal of May 25, 1963 (To Robert Rosenblum) Artist: Dan Flavin (American, New York 1933–1996 Riverhead, New York) Date: 1963 Medium: Cool white fluorescent light Dimensions: 96 x 3 3/4in. (243.8 x 9.5cm) Classifications: Sculpture, Variable Media Credit Line: Gift of Peter M. Brant, 1974 Accession Number: 1974.373.5a, b A milestone of Minimalist art and the very first of Flavin’s fluorescent-light sculptures, this work exists in nine versions. The first, in yellow, is dedicated to the modernist sculptor Constantin Brancusi, while this, the second, in "cool white," honors the renowned art historian Robert Rosenblum—an early proponent of downtown New York artists of the 1960s. The Diagonal joined a selection of Flavin’s other fluorescent sculptures in a groundbreaking show at New York’s Green Gallery in the fall of 1964, where the pieces flaunted their banal and utilitarian origins—they are simple fixtures ordered from a supplier in Brooklyn—while flooding the walls and floors of the gallery with colorful, painterly light. Text from: www.metmuseum.org/art/collection/search/481231

Ellsworth Kelly (sculptor) American, born 1923 Stele II, 1973 one-inch weathering steel overall: 320 x 299.7 cm (126 x 118 in.) base: 2.5 x 134.6 x 71.1 cm (1 x 53 x 28 in.) gross weight (estimated): 4500.000 lb Gift of The Morris and Gwendolyn Cafritz Foundation 1999.15.2 Text from: www.nga.gov/fcgi-bin/tinfo_f?object=107765&detail=none

Donald Judd. (American, 1928-1994). Untitled (Stack). 1967. Lacquer on galvanized iron, Twelve units, each 9 x 40 x 31" (22.8 x 101.6 x 78.7 cm), installed vertically with 9" (22.8 cm) intervals. Helen Acheson Bequest (by exchange) and gift of Joseph Helman Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 289 Sculpture must always face gravity, and the stack—one thing on top of another— is one of its basic ways of coping. The principle traditionally enforces a certain hierarchy, an upper object being not only usually different from a lower one but conceptually nobler, as when a statue stands on a pedestal. Yet in Judd's stack of galvanized–iron boxes, all of the units are identical; they are set on the wall and separated, so that none is subordinated to another's weight (and also so that the space around them plays a role in the work equivalent to theirs); and their regular climb—each of the twelve boxes is nine inches high, and they rest nine inches apart—suggests an infinitely extensible series, denying the possibility of a crowning summit. Judd's form of Minimalism The field of Minimalist objects, however, is not an undifferentiated one—Judd also believed that sculpture needed what he called "polarization," some fundamental tension. Here, for example, the uniform boxes, their tops and undersides bare metal, suggest the industrial production line. Meanwhile their fronts and sides have a coat of green lacquer, which, although it is auto paint, is a little unevenly applied, and has a luscious glamour. Text from: www.moma.org/collection/browse_results.php?object_id=81324