Modern Minimalism: Andre and Judd
Modern minimalism came into its own in the 1960s after Pollock’s time. See the two typed “poems” on paper and the pillar and cube construction both by the American artist Carl Andre.
Observing those works you could imagine someone saying “I could do that”, or “I could have done that”. The sentiment is quite understandable, but let’s dig deeper. The first statement seems to say ‒ now that I have seen the work, I could copy it. That’s acceptable. But the second statement seems to say ‒ I could have, or maybe more clearly, I would have, come up with the original idea, which is rather doubtful. Another variation is ‒ my kid could do that.
In light of all that, the artist deserves credit first for getting the original idea, second for executing the idea, and third for the completed work achieving recognition, then becoming known and shown.
Donald Judd, also an American, makes more polished work but still minimal. His signature construction is a stack of shallow boxes attached to a wall, one above the other, equally spaced. The boxes seem a bit like open drawers. See the visual strength in repetition. In a way, the wall enhances the stack and the stack enhances the wall.
Somehow, not only the wall but the floor has become more attractive. Curators and gallery owners say the art changes the space and it seems to be true. Notice in a modern museum, as in our photo, no other artwork is positioned close-by. This art needs breathing room.
Judd’s work is minimal in shape but his materials are elegant and his workmanship is impeccable. In general, a minimalist work is sensitive to the slightest flaw, which will be noticed. In contrast, in a complex landscape or still life, a small flaw is likely to go unnoticed or even be thought of as intended, or regarded as giving the piece “character” or “authenticity”.
Judd is known for his quotes, for instance, “A shape, a color, a surface is something in itself. It shouldn’t be concealed as part of a fairly different whole.”