Week 8

October 17, 2006

Piet Mondrian, Composition with Red, Yellow, and Blue, 1930 
Barnett Newman, Vir Heroica Sublimus, 1950-51
Frank Stella, Die Fahne Hoch, 1959 
Frank Stella, Tomlinson Court Park, 1959
Frank Stella, Marquis de Portago, 1960
Frank Stella, Luis Miguel Dominguin, 1960 

Frank Stella, Carl Andre, 1963
Frank Stella, installation at Leo Castelli Gallery, 1964
Frank Stella, Gezira, 1960
Carl Andre, Cedar Piece, 1959
Carl Andre, Equivalents I-VIII, 1966, and detail of # 8
Carl Andre, Lever, 1966 
Brancusi, Endless Column, 1925-28 (two views)

Donald Judd, untitled, 1968  (blue steel frames)
Donald Judd, untitled, 1965 (iron wall stack)
David Smith, Voltron 18, 1963
Mark Di Suvero, Big Piece, 1964

Donald Judd, untitled, 1968 (amber plexiglas and steel)
Andy Warhol boxes circa 1964

Tony Smith, Die, 1962 (two views) 
Robert Morris, Box with the Sound of Its own Making, 1961 
Walter de Maria, Walk Around the Box, 1961 
Robert Morris, installation at the Green Gallery, 1964 
Robert Morris, untitled, 1965-67  (L-Beams) 
Yvonne Rainer, We Shall Run and plan, 1965
Robert Morris, untitled, 1965 (ring with light)
Robert Morris, untitled, 1967 (steel mesh)

Dan Flavin, Installation at Green Gallery, 1964
Dan Flavin, A Primary Structure, 1964 
Dan Flavin, Monument to V Tatlin, #7, 1966 
Vladimir Tatlin, Monument to the Third International, 1919-20
Dan Flavin, untitled cool white installation, 1966
Vladimir Tatlin, Compex Corner Relief, 1915

Dan Flavin, Coran’s Broadway Flesh, 1962

Sol LeWitt, Wall Structure, 1963

Jasper Johns, Target with Four Faces, 1955

Frank Stella, The Marriage of Reason and Squalor, 1959.

Sol LeWitt, modular structure, 1966 2’ x 12’ x 12’

Sol LeWitt, painted wood 5'cube, 1966

Sol LeWitt, Open Cube, 1966 50 x 50”

Donald Judd, from "Specific Objects": “Half or more of the best new work in the last few years has been neither painting nor sculpture….They are particular forms circumscribed after all, producing fairly definite qualities.  Much of the motivation of this new work is to get clear of these forms.”  “This work which is neither painting nor sculpture challenges both. … The new work obviously resembles sculpture more than it does painting, but it is nearer to painting.”
    "Obviously anything in three dimensions can be in any shape, regular or irregular, and can have any relation to the wall, floor, ceiling, room, rooms or exterior or none at all, any material can be used, as is or painted.” 
    "The stripes are nowhere near being discreet parts.  Since the surface is exceptionally unified and involves little or no space, the parallel plane is unusually distinct.  The order is not rationalistic or underlying but is simply order, like that of continuity, one thing after another.  A painting isn't an image.  The shapes, the unity, projection, order and color are specific, aggressive and powerful."

Robert Morris:  "While the work must be autonomous in the sense of being a self-contained unit for the formation of the gestalt, the indivisible and undissolvable whole, the major aesthetic terms are not in but dependent upon this autonomous object and exist as unfixed variables that find their specific definition in the particular space and light and physical standpoint of the spectator….The experience necessarily exists in time….The object has not become less important.  It has merely become less self-important.   A beam on its end is not the same as the same beam on its side."

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October 19, 2006

No Class Meeting