Post-Minimalism is an art movement that emerged in the late 1960s and early 1970s.
It’s characterized by a rejection of traditional Minimalism, which was popularized by artists like Donald Judd and Carl Andre.
Post-Minimalist artists tend to use more diverse materials than their predecessors did, as well as incorporating elements from other disciplines into their work.
The movement has its roots in Conceptual art, but it also draws inspiration from Conceptualism’s predecessor, Process Art (which we’ll discuss later).
Notable Post-Minimalism Artists
Let’s take a look at some notable artists from the movement.
Eva Hesse
A sculptor, printmaker and performance artist who worked with materials like latex and felt.
Her work often explored themes of sexuality, death and the body.
Sol LeWitt
An American conceptual artist known for his large wall drawings that explore geometry through repetition.
His work often features simple shapes arranged in complex patterns.
Richard Serra
An American minimalist sculptor best known for his large steel sculptures that hang off the sides of buildings or are placed on top of them (he’s called this “site-specific art”).
He was also an important figure in Minimalism–you might recognize some of his pieces from their appearances in movies like Goodfellas or Batman Returns!
Robert Smithson
An American landscape architect who created land art installations by using natural materials such as rocks or dirt;
these installations were meant to be temporary but sometimes lasted longer than intended due to their popularity among visitors!
Donald Judd
Another famous minimalist artist who used geometric shapes as well as industrial materials like steel beams when creating his sculptures–you can find many examples at MoMA PS1 museum today!
Post-Minimalism and Performance Art
Post-Minimalism and performance art are closely related. In fact, many consider the two movements to be one and the same.
The influence of performance art on post-minimalism can be seen in how they merged sculpture with performance, as well as how they both share a similar goal:
to challenge traditional notions of art.
Post-Minimalist artists often incorporated elements of their own bodies into their work–for example, by doing things like walking around or sitting down while wearing an outfit made out of rocks (as shown below).
This new approach helped them break free from traditional ideas about what constitutes sculpture and allowed them to explore new ways for people to interact with it.
Post-Minimalism and Technology
Post-minimalist artists use technology as a means of expression, often incorporating it into their work.
For example, the artist Jeff Koons uses digital photography to create his sculptures.
His “Balloon Dog” series uses this technique to create a hyperrealistic representation of balloon animals.
Other examples include:
Robert Rauschenberg’s “Erased De Kooning Drawing” (1953), that incorporated a photograph of Willem de Kooning’s drawing erased by Rauschenberg.
Christo and Jeanne-Claude’s Wrapped Coastline Project (1972), which used nylon fabric wrapped around the coastline of Bali in Indonesia as an environmental statement about pollution in oceans and rivers around the world.
As you can see from these examples, postmodernism has been heavily influenced by technology, but not all postmodern artworks incorporate technology directly;
some simply reflect on its impact on society at large.
Post-Minimalism and Installation Art
The influence of installation art on post-minimalism is undeniable.
The movement was heavily influenced by the work of artists like Robert Smithson and Michael Heizer, who used earthworks and land art as their mediums.
They were interested in creating works that were not only aesthetically pleasing but also physically present in nature–something that could be experienced rather than just viewed from afar.
Post-Minimalists took this idea one step further by incorporating materials from their surroundings into their installations:
bricks, wood planks, glass bottles and other objects found around them would become part of their pieces respectively called assemblages or collages (see below).
This allowed viewers to connect more closely with the work because they could see how it reflected their own lives while also feeling more connected with nature through its use of natural materials such as rocks and soil alongside manmade ones like glass bottles or metal pipes which represent industrialization’s impact on our environment today.
Post-Minimalism and Conceptual Art
Post-Minimalism is a movement that emerged in the late 1960s and 1970s, following the Minimalist art movement of the 1960s.
The term “Post-Minimalism” was first used by Lawrence Weiner in 1969 to describe his work, which he felt did not fit into either category.
He was not alone in this sentiment; many artists were rejecting what they saw as an overly strict definition of Minimalism and wanted more freedom when creating their pieces.
One way that Post-Minimialists expressed this desire for freedom was through Conceptual Art–a type of art that does not rely on visual representation but rather focuses on ideas or concepts behind a work (for example:
Robert Barry’s “Theater Piece” consists only of an empty room).
Conceptual artists often made use of everyday materials such as cardboard boxes or string instead of expensive materials like metal or marble statues like traditional sculptors did at the time; however these materials could be just as beautiful if used correctly!
Post-Minimalism and Land Art
The influence of Land Art on Post-Minimalism is evident in the work of Robert Smithson, who was one of the first artists to use natural materials in his work.
In 1969, Smithson created Spiral Jetty as part of an art festival at Great Salt Lake near Salt Lake City, Utah.
The piece consists of a large spiral made from mud and rocks that extends out into the lake.
Smithson’s use of natural materials helped pave the way for other artists working within this genre by showing how they could be used in innovative ways to create works with lasting impact on their environment.
Post-Minimalism and Video Art
The influence of video art on post-minimalism can be seen in the work of artists such as Vito Acconci and Gary Hill.
Acconci’s performance piece Seedbed (1972) was one of the first to use video technology as a medium for artistic expression, while Hill used multiple monitors to create his installations.
Both artists were influenced by earlier movements such as Fluxus, which emphasized spontaneity over technique or skill;
heir work also reflects the influence of Conceptual Art, which focused on ideas rather than physical objects.
Post-Minimalism and Conceptual Photography
Post-Minimalism and Conceptual Photography are closely linked.
Artists like Robert Smithson and Eva Hesse were influenced by Conceptual Photography, and their work was later seen as part of the Post-Minimalist movement.
Post-Minimalism began in the late 1960s, when artists started to question the ideas behind Minimalism.
They wanted to do more than just create objects; they wanted to explore ideas through their artworks as well.
This idea became known as “conceptualism,” which means that instead of focusing on materials or form (as Minimalists did), these artists focused on concepts–ideas that could be expressed through any medium.
The term “postmodernism” also refers to this shift from materiality toward conceptuality; however it tends not to include photography because it’s considered too literal an expression for such abstract ideas!
Post-Minimalism – Wrapping Up
In conclusion, the Post-Minimalism art movement is a direct response to the Minimalism movement.
It emerged as an artistic response to what was seen as an overly simplistic and reductive approach to art making.
The Post-Minimalists wanted to explore new ways of creating meaning through their work, often using materials that were not traditionally considered “artistic” (like trash) or by incorporating different mediums into their pieces (like music).
The impact of this movement has been significant;
it paved the way for many other contemporary movements like Conceptual Art and Land Art which are still relevant today.
As technology continues to advance at rapid rates, we can expect even more changes in how artists choose to express themselves through their work–and these changes will likely continue long after we’re gone!
