MINIMAL ART AND ARTISTS

This book is is a study of Minimal art and artists, particularly painters, sculptors, 3-D, installation and land artists.

All of the key practitioners and theoreticians of the still-influential 1960s Minimal art movement and style are studied here: Donald Judd, Robert Morris, Carl Andre, Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Dan Flavin, Eva Hesse, Sol LeWitt, and many land artists (such as Robert Smithson, Christo, James Turrell and Michael Heizer).

Chapters include: Minimal aesthetics; Minimal painting and painters; Minimal sculptors and sculpture; Minimal art and land artists; and Minimal art today.

Fully illustrated. 232 pages. Large format.

The text has been fully revised for this edition, with new illustrations added. www.crmoon.com.

The Minimal artists did not consider themselves a group; they did not produce manifestos; they did not agree on aesthetics or working practices (though some were friends); they tended not to be directly involved in political art (Minimal art was more conservative than counter-culture); and they disliked the term 'minimalism'.

It tended to be the critics (as usual) who came up with the terms for the new art. Lucy Lippard used the term 'structurist', 'dematerialization' and 'eccentric abstraction'; Michael Fried had 'literalist' and 'objecthood'; Peter Hutchinson used 'Mannerist'; Barbara Rose coined 'ABC Art'; Lawrence Alloway had 'systematic painting'; Robert Morris took up 'unitary forms' and 'anti-form'; and Donald Judd employed 'speci c objects'.

Probably the premier Minimal artist (and philosopher) is Donald Judd; Judd stands at the centre of Minimal art, and no account of Minimalism is complete without placing Judd in the foreground. Robert Smithson, Frank Stella, Donald Judd, Ad Reinhardt, Robert Morris and Carl Andre have been among the most lucid of theorists among artists.

In the 1960s and 1970s, it seemed as if every artist went through a Minimal period at some time in their career, as well as a painting-as-sculpture period, and a brush with performance art (and perhaps body art). Both a Conceptual art phase and an on-going installation art preoccupation were mandatory for contemporary artists, it seems. All contemporary art can be viewed as basically Conceptual art, and a increasing proportion of it is installation art

BRICE MARDEN

The American artist Brice Marden (b. 1938) is one of the great contemporary painters.

Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.

Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.

In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.

Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving aBachelor of Fine Arts in 1961. That year, he worked at Yale NorfolkSummer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven.He moved to New York City, and worked as a guard in the JewishMuseum. At this time he was married to Pauline Baez, the sister ofJoan Baez, the singer, and had a son, Nicholas.

In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.

Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.

This is the only full-length appraisal available. Fully illustrated, with new illustrations. This book has been revised. ISBN 9781861713728. 200 pages. www.crmoon.com

COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT

Painting in the 1960s produced some of art's most lyrical and distinctive works: it was termedColorfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.

The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.

Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd," Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.'

Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.

AUTHOR'S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists.

Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861714428.

This third edition has been completely rewritten. www.crmoon.com

COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT

Painting in the 1960s produced some of art's most lyrical and distinctive works: it was termedColorfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.

The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.

Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd," Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.'

Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.

AUTHOR'S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists.

Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861713940.

This third edition has been completely rewritten. www.crmoon.com

MINIMAL ART AND ARTISTS

This book is is a study of Minimal art and artists, particularly painters, sculptors, 3-D, installation and land artists.

All of the key practitioners and theoreticians of the still-influential 1960s Minimal art movement and style are studied here: Donald Judd, Robert Morris, Carl Andre, Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Dan Flavin, Eva Hesse, Sol LeWitt, and many land artists (such as Robert Smithson, Christo, James Turrell and Michael Heizer).

Chapters include: Minimal aesthetics; Minimal painting and painters; Minimal sculptors and sculpture; Minimal art and land artists; and Minimal art today.

Fully illustrated. 232 pages. Large format.

The text has been fully revised for this edition, with new illustrations added. www.crmoon.com.

The Minimal artists did not consider themselves a group; they did not produce manifestos; they did not agree on aesthetics or working practices (though some were friends); they tended not to be directly involved in political art (Minimal art was more conservative than counter-culture); and they disliked the term 'minimalism'.

It tended to be the critics (as usual) who came up with the terms for the new art. Lucy Lippard used the term 'structurist', 'dematerialization' and 'eccentric abstraction'; Michael Fried had 'literalist' and 'objecthood'; Peter Hutchinson used 'Mannerist'; Barbara Rose coined 'ABC Art'; Lawrence Alloway had 'systematic painting'; Robert Morris took up 'unitary forms' and 'anti-form'; and Donald Judd employed 'speci c objects'.

Probably the premier Minimal artist (and philosopher) is Donald Judd; Judd stands at the centre of Minimal art, and no account of Minimalism is complete without placing Judd in the foreground. Robert Smithson, Frank Stella, Donald Judd, Ad Reinhardt, Robert Morris and Carl Andre have been among the most lucid of theorists among artists.

In the 1960s and 1970s, it seemed as if every artist went through a Minimal period at some time in their career, as well as a painting-as-sculpture period, and a brush with performance art (and perhaps body art). Both a Conceptual art phase and an on-going installation art preoccupation were mandatory for contemporary artists, it seems. All contemporary art can be viewed as basically Conceptual art, and a increasing proportion of it is installation art

COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT

Painting in the 1960s produced some of art's most lyrical and distinctive works: it was termedColorfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.

The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.

Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd," Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.'

Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.

AUTHOR'S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists.

Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861713733.

This third edition has been completely rewritten. www.crmoon.com

BRICE MARDEN

The American artist Brice Marden (b. 1938) is one of the great contemporary painters.

Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.

Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.

In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.

Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving aBachelor of Fine Arts in 1961. That year, he worked at Yale NorfolkSummer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven.He moved to New York City, and worked as a guard in the JewishMuseum. At this time he was married to Pauline Baez, the sister ofJoan Baez, the singer, and had a son, Nicholas.

In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.

Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.

This is the only full-length appraisal available. Fully illustrated, with new illustrations. This book has been revised. ISBN 9781861713766. 196 pages. www.crmoon.com

BRICE MARDEN

The American artist Brice Marden (b. 1938) is one of the great contemporary painters.

Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.

Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.

In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.

Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving aBachelor of Fine Arts in 1961. That year, he worked at Yale NorfolkSummer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven.He moved to New York City, and worked as a guard in the JewishMuseum. At this time he was married to Pauline Baez, the sister ofJoan Baez, the singer, and had a son, Nicholas.

In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.

Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.

This is the only full-length appraisal available. Fully illustrated, with new illustrations.

COLOURFIELD PAINTING

Sixties painting was variously termed Colourfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.

The painters linked in this study with Colourfield, Hard Edge Minimal and Post-Painterly Abstraction painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colourfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.

Colourfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser s Questions to Andre and Judd, Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. Time and again Judd insisted that the new art was to trying to get away from the European tradition. It suits me fine if that s all down the drain, Judd said. I m totally uninterested in European art and I think it s over with.

Many of the Colourfield and Sixties painters have made extremely brilliantly colourful works in the 1960s, then turned back to the sombre colours of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated colour: they moved back and forth from monochrome greys and blacks to full colour. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright colour to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colours of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.

Fully illustrated, with notes and bibliography.