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Beginning with the first reviews of minimalist shows, the book tracks the development of an art that critics dubbed Cool Art, ABC Art, and Primary Structures before settling on the deprecating label "minimal art." Suggesting that such work was overly reduced in form and facture, this term implied that the new abstraction was barely legible as fine art to some viewers. Meyer describes the heated polemic that unfolded in response to these practices, the differing claims of the artists, and the sometimes intense rivalries that developed within a highly competitive, fashion-minded New York art scene. The book culminates with an analysis of minimalim's canonization in the late sixties, its reception in Europe, and its discrediting by leftist viewers who associated the new art with American capitalist-imperialism during the Vietnam War.
作者簡介
James Meyer is associate professor of art history at Emory University.
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