Morris
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Conceptualism grew from the misprisms (the creative misreading of a former art form) of Minimalist art. The concepts behind the minimalist works such as those by Carl Andre or Dan Flavin were opened up as the work rather than looking solely at the object itself, this was the dematerialisation of the art object. An irony
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Maurice Merleau-Ponty expressed that outside things are ‘encrusted in the joints of my body’. Robert Morris expressed a similar sentiment in his essay ‘Notes on sculpture pt.2’ where he talked of how we experience sculptures though our movements around them, e.g. the way we compare ourselves to the monumental, step back, get up close and
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Rosalind Krauss in her article ‘Allusion and Illusion in Donald Judd’ criticises Judd, who believes in creating works with no allusion or illusion, saying that his work does allude to other things. Allusion can be a property of the thing itself (e.g. I recognise a bottle because I know bottles because of my culture. Do
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Robert Morris’s essay ‘Notes on Sculpture pt.2’ looks at the relationships between the viewers and the objects on display in minimalist art. With the monumental, we are impressed and overwhelmed, sucked into the scale of the sculpture. On a small scale, we form a much more intimate relationship with it, we are able to close
Robin Leverton 