Minimalism - origins:
"The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power." This is the opening sentence of Edward Strickland's study, the first to examine in detail Minimalist tendencies in the plastic arts and music. The term Minimalism appeared in th...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Bloomington [u.a.]
Indiana Univ. Press
1993
|
| Schlagworte: | |
| Zusammenfassung: | "The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power." This is the opening sentence of Edward Strickland's study, the first to examine in detail Minimalist tendencies in the plastic arts and music. The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped-down sculpture of artists like Robert Morris and Donald Judd, both of whom detested the word. In the late seventies it gained widespread currency when applied to the repetitive music popularized by Steve Reich and Philip Glass. In the first part of the book, "Paint," Strickland shows how Minimalism offered a rethinking of the main schools of abstract art to mid-century. Within Abstract Expressionism Barnett Newman opposed the stylistic complexity of confessional action painting with non-gestural, color-field painting Ad Reinhardt and Ellsworth Kelly reconceived the rhythmic construction of earlier Geometrical Abstraction in "invisible" and brilliant monochromes respectively; and Robert Rauschenberg created Dadaist anti-art in pure white panels. Next, Strickland surveys Minimal music from La Monte Young's long-tone composions of the fifties to his drone works of the Theatre of Eternal Music. He examines the effect of foreign and nonclassical American musics on Terry Riley's motoric repetition developed from his tape experimentation, Steve Reich's formulation of phasing technique; and Philip Glass's unison modules. The third part of the book treats the development of Minimal sculpture and its critical reception. Strickland also discusses analogous Minimalist tendencies in dance, film, and literature as well as the incorporation of once-shocking Minimalist vocabulary into mass culture from fashion to advertising Investigating the origins of Minimalism in postwar American culture, Strickland redefines it as a movement the developed radically reductive stylistic innovations in numerous media over the third quarter of the twentieth century |
| Beschreibung: | 312 S. Ill. |
| ISBN: | 0253354994 |
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| 520 | 3 | |a "The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power." This is the opening sentence of Edward Strickland's study, the first to examine in detail Minimalist tendencies in the plastic arts and music. The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped-down sculpture of artists like Robert Morris and Donald Judd, both of whom detested the word. In the late seventies it gained widespread currency when applied to the repetitive music popularized by Steve Reich and Philip Glass. In the first part of the book, "Paint," Strickland shows how Minimalism offered a rethinking of the main schools of abstract art to mid-century. Within Abstract Expressionism Barnett Newman opposed the stylistic complexity of confessional action painting with non-gestural, color-field painting | |
| 520 | 3 | |a Ad Reinhardt and Ellsworth Kelly reconceived the rhythmic construction of earlier Geometrical Abstraction in "invisible" and brilliant monochromes respectively; and Robert Rauschenberg created Dadaist anti-art in pure white panels. Next, Strickland surveys Minimal music from La Monte Young's long-tone composions of the fifties to his drone works of the Theatre of Eternal Music. He examines the effect of foreign and nonclassical American musics on Terry Riley's motoric repetition developed from his tape experimentation, Steve Reich's formulation of phasing technique; and Philip Glass's unison modules. The third part of the book treats the development of Minimal sculpture and its critical reception. Strickland also discusses analogous Minimalist tendencies in dance, film, and literature as well as the incorporation of once-shocking Minimalist vocabulary into mass culture from fashion to advertising | |
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Datensatz im Suchindex
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| spelling | Strickland, Edward Verfasser aut Minimalism - origins Edward Strickland Bloomington [u.a.] Indiana Univ. Press 1993 312 S. Ill. txt rdacontent n rdamedia nc rdacarrier "The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power." This is the opening sentence of Edward Strickland's study, the first to examine in detail Minimalist tendencies in the plastic arts and music. The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped-down sculpture of artists like Robert Morris and Donald Judd, both of whom detested the word. In the late seventies it gained widespread currency when applied to the repetitive music popularized by Steve Reich and Philip Glass. In the first part of the book, "Paint," Strickland shows how Minimalism offered a rethinking of the main schools of abstract art to mid-century. Within Abstract Expressionism Barnett Newman opposed the stylistic complexity of confessional action painting with non-gestural, color-field painting Ad Reinhardt and Ellsworth Kelly reconceived the rhythmic construction of earlier Geometrical Abstraction in "invisible" and brilliant monochromes respectively; and Robert Rauschenberg created Dadaist anti-art in pure white panels. Next, Strickland surveys Minimal music from La Monte Young's long-tone composions of the fifties to his drone works of the Theatre of Eternal Music. He examines the effect of foreign and nonclassical American musics on Terry Riley's motoric repetition developed from his tape experimentation, Steve Reich's formulation of phasing technique; and Philip Glass's unison modules. The third part of the book treats the development of Minimal sculpture and its critical reception. Strickland also discusses analogous Minimalist tendencies in dance, film, and literature as well as the incorporation of once-shocking Minimalist vocabulary into mass culture from fashion to advertising Investigating the origins of Minimalism in postwar American culture, Strickland redefines it as a movement the developed radically reductive stylistic innovations in numerous media over the third quarter of the twentieth century Geschichte 1900-2000 Geschichte 1900-2000 gnd rswk-swf Art minimal - États-Unis Arts américains - 20e siècle Minimal art gtt Minimalismo larpcal Musique - États-Unis - 20e siècle - Histoire et critique Musique répétitive - Histoire et critique Muziek gtt Schilderkunst gtt Malerei Musik Arts, American 20th century Minimal art United States Minimal music History and criticism Music United States 20th century History and criticism Malerei (DE-588)4037220-0 gnd rswk-swf Minimal Art (DE-588)4228187-8 gnd rswk-swf Minimal music (DE-588)4346530-4 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Regionalkunst (DE-588)4755834-9 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf USA (DE-588)4078704-7 g Minimal Art (DE-588)4228187-8 s Malerei (DE-588)4037220-0 s DE-604 Kunst (DE-588)4114333-4 s Musik (DE-588)4040802-4 s Geschichte 1900-2000 z 1\p DE-604 Regionalkunst (DE-588)4755834-9 s 2\p DE-604 Minimal music (DE-588)4346530-4 s 3\p DE-604 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 3\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Strickland, Edward Minimalism - origins Art minimal - États-Unis Arts américains - 20e siècle Minimal art gtt Minimalismo larpcal Musique - États-Unis - 20e siècle - Histoire et critique Musique répétitive - Histoire et critique Muziek gtt Schilderkunst gtt Malerei Musik Arts, American 20th century Minimal art United States Minimal music History and criticism Music United States 20th century History and criticism Malerei (DE-588)4037220-0 gnd Minimal Art (DE-588)4228187-8 gnd Minimal music (DE-588)4346530-4 gnd Kunst (DE-588)4114333-4 gnd Regionalkunst (DE-588)4755834-9 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4037220-0 (DE-588)4228187-8 (DE-588)4346530-4 (DE-588)4114333-4 (DE-588)4755834-9 (DE-588)4040802-4 (DE-588)4078704-7 |
| title | Minimalism - origins |
| title_auth | Minimalism - origins |
| title_exact_search | Minimalism - origins |
| title_full | Minimalism - origins Edward Strickland |
| title_fullStr | Minimalism - origins Edward Strickland |
| title_full_unstemmed | Minimalism - origins Edward Strickland |
| title_short | Minimalism - origins |
| title_sort | minimalism origins |
| topic | Art minimal - États-Unis Arts américains - 20e siècle Minimal art gtt Minimalismo larpcal Musique - États-Unis - 20e siècle - Histoire et critique Musique répétitive - Histoire et critique Muziek gtt Schilderkunst gtt Malerei Musik Arts, American 20th century Minimal art United States Minimal music History and criticism Music United States 20th century History and criticism Malerei (DE-588)4037220-0 gnd Minimal Art (DE-588)4228187-8 gnd Minimal music (DE-588)4346530-4 gnd Kunst (DE-588)4114333-4 gnd Regionalkunst (DE-588)4755834-9 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Art minimal - États-Unis Arts américains - 20e siècle Minimal art Minimalismo Musique - États-Unis - 20e siècle - Histoire et critique Musique répétitive - Histoire et critique Muziek Schilderkunst Malerei Musik Arts, American 20th century Minimal art United States Minimal music History and criticism Music United States 20th century History and criticism Minimal Art Minimal music Kunst Regionalkunst USA |
| work_keys_str_mv | AT stricklandedward minimalismorigins |