Abstract Painting and the Minimalist Critiques

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1960s
A01=Matthew L. Levy
Abstract Expressionism
Abstract Painting
Age Group_Uncategorized
Age Group_Uncategorized
Al Held
Ars
art criticism
art critics
art historical methodology
art history
Author_Matthew L. Levy
automatic-update
Baer's Work
Baer’s Work
Catalogue Essay
Category1=Non-Fiction
Category=AB
Category=ACXJ4
Category=AFC
Category=AGA
Category=GLZ
Category=GM
Clement Greenberg
Color Field Painting
contemporary art
COP=United Kingdom
curator
curatorial studies
David Novros
death of painting
death of painting debate
Delivery_Delivery within 10-20 working days
Des Moines Art Center
Di Suvero
Douglas Crimp
Dwan Gallery
Endgame Scenarios
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
exhibition history
exhibitions
Fischbach Gallery
Flat Art
Guggenheim
Jewish Museum
Jo Baer
Language_English
Late Cubist
Lawrence Alloway
Leo Castelli Gallery
Lucy Lippard
Mark Di Suvero
Michael Fried
Minimalism
Minimalist Painting
minimalist painting discourse 1960s
modern art
modernism
modernist art theory
PA=Available
painter-sculptor dialogue
painting
Pale Red
Park Place
Post Painterly Abstraction
postmodernism
postwar American painting
Price_€100 and above
Primary Structures
PS=Active
Robert Mangold
Rudy Burckhardt
Ryman's Work
Ryman’s Work
Samuel Beckett
sculptors
Shaped Canvas
softlaunch
Sol LeWitt
Systemic Painting
The Unnamable
United States
visual arts criticism
York Art World
York School Painters
Yve-Alain Bois

Product details

  • ISBN 9781138314580
  • Weight: 600g
  • Dimensions: 174 x 246mm
  • Publication Date: 03 Jun 2019
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
  • Language: English
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This book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement’s development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism’s "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts.

Matthew L. Levy is Assistant Professor of Art History at Penn State Erie, The Behrend College.

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