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Carregando... Minimalism: Originsde Edward Strickland
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... a landmark work, the first attempt to write a pre-history of minimalism that embraces all the arts. Its importance cannot be overestimated." --K. Robert Schwarz, Institute for Studies in American Music All told, this book is mandatory reading for anyone who wishes to understand the history and nature of minimalism." --i/e/ NINE 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 1970s it gained 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 Reinhartdt 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 compositions of the 1950s to his drone works of the Theatre of Eternal Music. He examines the effect of foreign and nonclassical American music 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, Não foram encontradas descrições de bibliotecas. |
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 Google Books — Carregando...GênerosClassificação decimal de Dewey (CDD)700The arts Modified subdivisions of the arts Standard subdivisions of the artsClassificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia: (4.6)
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Strickland discusses minimalism in visual art, as well as music and other fields, ensuring that the common factors linking La Monte Young with (say) Ad Reinhardt get a thorough airing. Other Minimalist visual artists featured include Robert Morris, Mark Rothko, Barnett Newman, Frank Stella and Donald Judd, although the book would benefit considerably from more illustrations.
In contrast to the bare-essentials, anti-narrative approach that Minimalism entails, Strickland's book is anything but minimalist, exploring competing aesthetic theories, connections between different artists, anecdotes, chronology and influences with extraordinary thoroughness.
Just to please true obsessives, he even devotes several pages to the often vexed question of who first applied the term "Minimalism" to music. Was it Michael Nyman? John Rockwell? Tom Johnson? Anal-retentives can find out within.
In the section on music, the author is happy to acknowledge minimalist precursors like Erik Satie, John Cage, Morton Feldman or even Yves Klein (whose Monotone Symphony was performed in 1957), but it's his detailed history of La Monte Young, Terry Riley, Steve Reich and Philip Glass that makes for the most fascinating reading.
Often forgotten connections between the composers are documented (e.g. the close relationship between Glass and Reich obscured by later acrimony), as are important but more obscure figures such as Terry Jennings, Richard Maxfield, and Dennis Johnson (although the sections on Young would benefit from an understanding of the criticisms made by Tony Conrad and others).
Strickland also pays attention to later minimalists such as Charlemagne Palestine, Philip Corner, Rhys Chatham, Ingram Marshall, Phill Niblock and others, although the book is intended more as a study of "origins" than anything else.
This is probably not an easy read for anyone not already partially familiar with the subject matter, but for anyone seriously interested in the development of Minimalist art and music, this book is absolutely indispensable. (