Bibliography

Meyer, James

Save Cite Share

Free

Bibliography

James Meyer

Minimalism: Art and Polemics in the Sixties

Bibliography

Author

James Meyer

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31649

Bibliography

Adorno, Theodor. Aesthetic Theory, trans. C. Lenhardt. London and New York: Routledge and Kegan Paul, 1984.

—. Prisms, trans. Samuel and Shierry Weber. Cambridge, Mass. and London: MIT Press, 1967.

Agee, William. Don Judd. New York: Whitney Museum of American Art, 1968.

Albert, Judith Clavir and Stewart Edward Albert, eds. The Sixties Papers: Documents of a Rebellious Decade. New York: Praeger, 1984.

Alloway, Lawrence. The Shaped Canvas. New York: Solomon R. Guggenheim Museum, 1965.

—. Systemic Painting. New York: Solomon R. Guggenheim Museum, 1966.

Amerikanische Kunst von 1945 bis Heute. Cologne: Dumont, 1976.

“Amerikanisches Raumkunst.” Neue Züricher Zeitung, January 20, 1969.

“Amerikanisches Raumkunst.” Ostschweizerisches Tageblatt, January 31, 1969.

Andre, Carl. “Against Duchamp.” Praxis 1:1 (Spring 1975): 115.

—. “The Bricks Abstract.” Art Monthly 1 (October 1976): 24.

—. “Essay on Sculpture for E. C. Goossen (1964).” Repr. in Carl Andre. The Hague: Gemeentemuseum (1969), 1975.

—. Interviews with the author. New York, N.Y., 1991–93.

—. Letter to the author, October 1, 1991.

—. Letter to the author, November 26, 1991.

—. Letter to the author, December 19, 1991.

—. Letter to Sol LeWitt, 1970. Robert Smithson and Nancy Holt Papers, Archives of American Art, Smithsonian Institution, Washington, D.C.

—. “Notes on Two Aspects of Space” (1963). Unpublished essay, collection of the artist.

—. “Preface to Stripe Painting (Frank Stella).” In Sixteen Americans. New York: The Museum of Modern Art, 1959.

—. “Questions for Carl Andre.” Calgary, 1982. Unpublished manuscript.

—. “A Reasonable and Practical Proposal for Artists Who Wish to Remain Free Men in These Terrible Times.” Written by Philip Leider; titled and delivered by Carl Andre. Open Hearing: Art Workers Coalition. New York, 1969.

—. “Theorie Dialogue.” Der Loew 5:31 (July 1975): 28–9.

—. and Hollis Frampton. “A Dialogue on Our Obscurity, 10 May 1959.” Unpublished manuscript.

—. 12 Dialogues 1961–1963, ed. Benjamin H. D. Buchloh. Halifax: Nova Scotia College of Art and Design, 1981.

— and Jeremy Gilbert-Rolfe. “Commodity and Contradiction, or Contradiction as Commodity.” October 2 (Summer 1976): 100–4.

Carl Andre. The Hague: Gemeentemuseum (1969). Repr. by Daled Brussels, 1975.

Carl Andre. Catalogue raisonné. The Hague and Eindhoven: Gemeentemuseum and Stedelijk van Abbemuseum, 1987.

Carl Andre: Sculpture 1958–1974. Bern: Kunsthalle, 1975.

Carl Andre: Wood. Eindhoven: Stedelijk van Abbemuseum, 1978.

Antin, David. “Art and Information 1: Grey Paint, Robert Morris.” Art News 65:2 (April 1966): 23–4, 56–8.

Armstrong, Richard and Richard Marshall. The New Sculpture 1965–1975: Between Geometry and Gesture. New York: Whitney Museum of American Art, 1990.

Art of the Sixties and Seventies: The Panza Collection. New York: Rizzoli, 1987.

“Art Minimal: Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, Tony Smith.” Artstudio 6 (Autumn 1987).

“Arts: That Sinking Feeling.” Architectural Forum 124 (March 1966): 27.

Ashton, Dore. “The Anti-Compositional Attitude in Sculpture.” Studio International 172:879 (July 1966): 44–7.

—. “New York: ‘The Art of the Real’ at the Museum of Modern Art.” Studio International 176:903 (September 1968): 92–3.

Austellungen hei Konrad Fischer: Dusseldorf Oktober 1967-Oktober 1992. Bielefeld: Edition Marzona, 1993.

Baker, Elizabeth C. “Barnett Newman in a New Light.” Art News 67:10 (February 1969): 38ff.

—. “Judd the Obscure.” Artnews 67:2 (April 1968): 44–5, 60–2.

Baker, Kenneth. Minimalism: Art of Circumstance. New York: Abbeville Publishers, 1988.

Banes, Sally. Democracy’s Body: Judson Dance Theater 1962–1964. Ann Arbor: UMI Research Press, 1983.

—. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, N.C.: Duke University Press, 1993.

Bannard, Darby. “Present-Day Art and Ready-Made Styles.” Artforum 5:4 (December 1966): 30–5.

Barthes, Roland. “Alain Robbe-Grillet.” Evergreen Review 5:9 (1959): 113–26.

—. “The World as Object.” Art and Literature 3 (Autumn-Winter 1964): 148–61.

—. “Literal Literature.” In Critical Essays, trans. Richard Howard. Evanston: Northwestern University Press, 1972.

Batchelor, David. “Abstraction, Modernism, Representation.” In Andrew Benjamin and Peter Osborne, eds. Thinking Art: Beyond Traditional Aesthetics. London: Institute of Contemporary Arts, 1991.

—. Minimalism. London: Tate Gallery, 1997.

—. “Within and Between.” In Sol LeWitt: Structures 1962–1993. Oxford: Museum of Modern Art, 1993.

Battcock, Gregory. “The Art of the Real: The Development of a Style: 1948–1968.” Arts Magazine 42:8 (June 1968): 44–7.

—, ed. Idea Art. New York: Dutton, 1973.

—. “Marcuse and Anti-Art.” Arts Magazine 43:7 (Summer 1969): 47–50.

—, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

Bellamy, Dick. Interview with the author. New York, N.Y., December 17, 1991.

Berger, Maurice. Labyrinths: Robert Morris, Minimalism, and the 1960s. New York: Harper and Row, 1989.

Berkman, Florence. “Pop Art on Exhibition Free, Far Out.” The Hartford Times, January 11, 1964.

Berrigan, Ted. “Carl Andre.” Artnews 64:4 (Summer 1965): 21.

Beveridge, Karl and Ian Burn. “Don Judd.” The Fox 2 (New York: Art and Language Foundation, 1975): 129–42.

Blok, C. “Minimal Art at the Hague.” Art International 12:5 (May 1968): 18–24.

Bochner, Mel. “Art in Process – Structures.” Arts Magazine 40:9 (September/October 1966): 38–9.

—. “In the Galleries: Frank Stella.” Arts Magazine 40:7 (May 1966): 61.

—. Interview with the author. New York, N.Y., June 13, 1994.

—. “Donald Judd.” Arts Magazine 40:6 (April 1966): 57.

—. Letter to the author, January 13, 1992.

—. “Sol LeWitt.” Arts Magazine 40:9 (September/October 1966): 61.

—. “Primary Structures.” Arts Magazine 40:8 (June 1966): 32–5.

—. “Serial Art, Systems: Solipsism.” Arts Magazine 41:8 (Summer 1967): 39–43.

—. “The Serial Attitude.” Artforum 6:4 (December 1967): 73–7.

—. “Systemic.” Arts Magazine 41:1 (November 1966): 40.

Bois, Yve-Alain. “Ellsworth Kelly in France: Anti-Composition in its Many Guises.” In Ellsworth Kelly: The Years in France, 1948–1954 (Washington: National Gallery of Art, 1992).

—. “The Inflection.” In Donald Judd: New Sculpture. New York: Pace Gallery, 1991.

—. “The Limit of Almost.” In Ad Reinhardt. New York: The Museum of Modern Art, 1991.

—. Painting as Model. Cambridge, Mass. and London: MIT Press, 1990.

Bourdon, David. “Carl Andre.” Village Voice, April 29, 1965.

—. Carl Andre Sculpture 1959–1977. New York: Rietman, 1978.

—. “Art: Robert Morris: I.” Village Voice, December 24, 1964, 9.

—. “Art: Robert Morris: II.” Village Voice, March 18, 1965, 11.

—. “E = MC2 à Go-Go.” Artnews (January 1966): 1–6.

—. “Our Period Style.” Art and Artists 1:3 (June 1966): 54.

—. “The Razed Sites of Carl Andre.” In Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

—. “Tenth Street.” Village Voice, November 26, 1964.

Brée, Germaine. Marcel Proust and Deliverance from Time, trans. C. J. Richards and Anne D. Truitt. New York: Grove Press, 1955.

Brett, Guy. “American Anthology.” The Times (London), April 26, 1969.

Brown, Gordon. “Geometry and Other Matters.” Arts Magazine 42 (April 1968): 53.

Buchloh, Benjamin H. D. “Beuys: The Twilight of the Idol: Preliminary Notes for a Critique.” Artforum 18:5 (January 1980): 35–43

—. “Cold War Constructivism.” In Serge Guilbaut, ed. Reconstructing Modernism: Art in New York, Paris, and Montreal 1945–1964. Cambridge, Mass. and London: MIT Press, 1990, 85–112.

—. “From the Aesthetic of Administration to Institutional Critique: Some Aspects of Conceptual Art 1962–1969.” In L’Art conceptuel: une perspective. Paris: Musée d’Art Moderne de la Ville de Paris, 1990. Reprinted in October 55 (Winter 1990): 105–43.

—. “Andy Warhol’s One-Dimensional Art.” In Kynaston McShine, ed. Andy Warhol: A Retrospective. New York: The Museum of Modern Art, 1989, 39–61.

— and Rudi Fuchs, Konrad Fischer, John Matheson, and Hans Strelow. Prospect Retrospect: Europa 1946–1976. Cologne: Kaspar Kónig, 1976.

Castoro, Rosemarie. Letter to the author, February 10, 1992.

Cavell, Stanley. Must We Mean What We Say? Cambridge: Cambridge University Press, 1969.

—. The World Viewed: Reflections on the Ontology of Film. Cambridge, Mass.: Harvard University Press, 1971.

Chave, Anna C. “Agnes Martin: ‘Humility, the Beautiful Daughter . . . All of Her Ways Are Empty.” In Agnes Martin, ed. Barbara Haskell. New York: Whitney Museum of American Art, 1992.

—. “Minimalism and the Rhetoric of Power.” Arts Magazine 64:5 (January 1990): 44–63.

Cherix, Christophe. Robert Morris estampes et multiples 1952–1998. Catalogue raisonné. Geneva and Chatou: Cabinet des Estampes du Musée d’Art et d’Histoire Maison Lavanneur/Centre National de l’Estampe et de l’Art Imprimé, 1999.

Un Choix d’art minimal dans la collection Panza. Paris: Musée d’Art Moderne de la Ville de Paris, 1990.

Clark, T. J. Farewell to an Idea: Episodes from a History of Modernism. New Haven and London: Yale University Press, 1999.

—. “Jackson Pollock’s Abstraction.” In Serge Guilbaut, ed. Reconstructing Modernism: Art in New York, Paris, and Montreal 1945–1964. Cambridge, Mass. and London: MIT Press, 1990.

Clarke, David. “The Gaze and the Glance: Competing Understandings of Visuality in the Theory and Practice of Late Modernist Art.” Art History 15:1 (March 1992): 80–98.

The Classic Spirit in Twentieth Century Art. New York: Sidney Janis Gallery, 1964.

Claura, Michel. “L’Art du réel au Grand Palais.” Les Lettres Françaises, December 4, 1968.

Coates, Robert. “The Art Galleries.” The New Yorker, May 21, 1966.

Cockcroft, Eva. “Abstract Expressionism: Weapon of the Cold War.” Artforum 12:10 (June 1974): 39–41.

Colpitt, Frances. Minimal Art: The Critical Perspective. Ann Arbor: UMI Research Press, 1990.

Compton, Michael and David Sylvester. Robert Morris. London: Tate Gallery, 1971.

Cone, Jane Harrison. “Judd at the Whitney.” Artforum 6:9 (May 1968): 36–9.

Cooper, Rhonda. “An Interview with Carl Andre.” In Carl Andre Sculpture. Stony Brook: State University of New York, 1984.

Coplans, John. “An Interview with Don Judd – ‘I am interested in static visual art and hate imitation of movement.’ “ Artforum 9:10 (June 1971): 45.

—. “Serial Imagery.” Artforum 7:2 (October 1968): 34–43.

Crane, Diana. The Transformation of the Avant-Garde. Chicago and London: University of Chicago Press, 1987.

Crimp, Douglas. “Pictures.” October 8 (Spring 1979): 75–88.

Crow, Thomas. Modern Art in the Common Culture. New Haven and London: Yale University Press, 1996.

—. “Modernism and Mass Culture in the Visual Arts.” In Francis Frascina, ed. Pollock and After: The Critical Debate. New York: Icon, 1985.

—. The Rise of the Sixties. New York: Abrams and London: Weidenfeld & Nicolson, 1996.

Cummings, Paul. Interview with Carl Andre, September 1972. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. Interview with Ivan Karp, March 12, 1969. Transcript in the Ivan Karp Papers, Archives of American Art, Smithsonian Institution, Washington, D.C.

—. Interview with Sol LeWitt, July 15, 1974. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. Interview with Robert Morris, March 10, 1968. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. Interview with Robert Smithson for the Archives of American Art/Smithsonian Institution, July 14 and 19, 1972. In Nancy Holt, ed. The Writings of Robert Smithson, New York University Press, 1979.

Cutler, Carol. “Twenty Years of US Realism: Big, Aggressive, Colorful.” International Herald Tribune, November 28, 1968.

Damisch, Hubert. “Mystery Paintings.” In Les Années cinquantes. Paris: Centre Georges Pompidou, 1988.

Develing, Enno, ed. Minimal Art. The Hague: Gemeentemuseum, 1968.

Drawings and diagrams 1963–1972 by Dan Flavin. St. Louis: St. Louis Art Museum, 1973.

Dunlop, Ian. “MOMA Shows Off Art of the Real.” Hong Kong Standard, May 11, 1969.

Duparc, Christiane. “Blizzard au Grand Palais.” Le Nouvel Observateur, November 18–26, 1968.

De Duve, Thierry. Clement Greenberg Between the Lines. Paris: Dis Voir, 1996.

—. “The Monochrome and the Blank Canvas.” In Serge Guilbaut, ed., Reconstructing Modernism: Art in New York, Paris, and Montreal 1945–1964. Cambridge, Mass. and London: MIT Press, 1990.

Dwan, Virginia. Interview with the author. New York, N.Y., October 24, 1991.

Virginia Divan: Art Minimal – Art Conceptuel – Earthworks. Paris: Galerie Montaigne, 1991.

Everyman’s Infinite Art. Orange, Calif.: Purcell Gallery, Chapman College, December 15–30, 1966.

Factor, Donald. “Boxes.” Artforum 2:10 (April 1964): 21–3.

—. “Los Angeles, Dwan Gallery: Robert Morris.” Artforum 4:8 (April 1966): 13.

“Fascinating this minute: black-and-white excitement is back.” Vogue 143:7 (April 1964).

Feldman, Anita. “Minimal Art.” Arts Magazine 42:8 (June 1968): 57.

Fer, Briony. “Bordering on Blank: Eva Hesse and Minimalism.” In On Abstract Art. New Haven and London: Yale University Press, 1997.

“Fine Lines and Art Forms Silhouette Spring Fashions.” Hartford Courant, February 9, 1964.

Flavin, Dan. “. . . in daylight or cool white.” Artforum 4:4 (December 1965): 21–4.

—. Interview with the author. Wainscott, N.Y., March 22, 1992.

—. “some other comments . . . more pages from a spleenish journal.” Artforum 6:4 (December 1967): 20–5.

—. “some remarks . . . excerpts from a spleenish journal.” Artforum 5:4 (December 1966): 27–9.

Dan Flavin: drawings, diagrams and prints 1972–1975. and Dan Flavin: installations in fluorescent light 1972–1975. Fort Worth: Fort Worth Art Museum, 1977.

Foster, Hal. “The Crux of Minimalism.” In Howard Singerman, ed. Individuals: A Selected History of Contemporary Art 1945–86. Los Angeles: Museum of Contemporary Art, 1986.

—. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, Mass. and London: MIT Press, 1996.

—. “Some Uses and Abuses of Russian Constructivism.” In Art into Life: Russian Constructivism 1914–1932. Seattle: The Henry Art Gallery, University of Washington, 1990.

—, ed. Discussions in Contemporary Culture 1. Seattle: Bay Press, 1987.

—. “The Reception of the 1960s: Round Table,” October 69 (Summer 1994): 3–21.

Fried, Michael. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. University of Chicago Press, 1980.

—. “Art and Objecthood.” Artforum 5:10 (June 1967): 12–23.

—. Art and Objecthood. Chicago and London: University of Chicago Press, 1998.

—. “Anthony Caro.” Art International 7:7 (September 1963): 68–72.

—. Anthony Caro. London: Hayward Gallery, 1969.

—. “Anthony Caro and Kenneth Noland: Some Notes on Not Composing.” Lugano Review 1:3/4 (Summer 1965): 198–206.

—. “New Work by Anthony Caro.” Artforum 5:6 (February 1967): 46–7.

—. “New York Letter.” Art International 6 (December 1962): 57.

—. “New York Letter.” Art International 7:4 (April 25, 1963): 56.

—. “New York Letter.” Art International 7:5 (May 25, 1963): 69–70.

—. “New York Letter.” Art International 7:10 (January 16, 1964): 55.

—. “New York Letter.” Art International 8:1 (February 15, 1964): 26.

—. “New York Letter.” Art International 8:3 (April 1964): 58–9.

—. “Larry Poons’s New Paintings.” Artforum 10:7 (March 1972): 50–2.

—. “Shape as Form: Frank Stella’s New Paintings.” Artforum 5:3 (November 1966): 18–27.

—. Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella. Cambridge, Mass.: Fogg Art Museum, Harvard University, 1965.

Friedman, Martin. “Robert Morris: Polemics and Cubes.” Art International 10:10 (December 1966): 23–7.

Fuller, Peter. “Carl Andre on his Sculpture: An Interview with Peter Fuller, Parts I and II.” Art Monthly 16 and 17 (May and June 1976).

Galbraith, J. K. The Affluent Society. Boston: Houghton Mifflin, 1958.

Garner, Philippe. Sixties Design. Cologne: Taschen, 1993.

Gitlin, Todd. The Sixties: Years of Hope, Days of Rage. New York: Bantam, 1987.

Glaser, Bruce. “New Nihilism or New Art.” Interview with Dan Flavin, Don Judd, and Frank Stella. New York, N.Y., February 15, 1964; broadcast on WBAI, New York, N.Y., March 24, 1964. Los Angeles: Pacifica Radio Archive, Tape #683394.

—. “Questions to Stella and Judd,” ed. Lucy R. Lippard. In Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

Glueck, Grace. “Anti-Collector, Anti-Museum.” The New York Times, April 24, 1966.

—. “Art Notes: A Box is A Box is A Box.” New York Times, March 10, 1968.

Gold, Barbara. “Artist Seeks Validity in Boxes.” Baltimore Sun, March 3, 1968.

Goldin, Amy. “Requiem for a Gallery.” Arts Magazine 40:3 (January 1966): 25–9.

Gollin, Jane. “Donald Judd.” Artnews (April 1966): 54–5.

E. G. [Goossen]. “Carl Andre.” New York Herald Tribune, April 9, 1966.

Goossen, E. C. The Art of the Real: USA 1948–1968. New York: The Museum of Modern Art, 1968.

—. “The Artist Speaks: Robert Morris.” Art in America 58:3 (May/June 1970): 102–11.

—. “Distillation.” In Gregory Battcock, ed., Minimal Art: A Critical Anthology. New York: Dutton, 1968.

—. Eight Young Artists. Yonkers, N.Y.: Hudson River Museum, 1964.

—. Eight Young Artists: Then and Now, 1964–1991. New York: Hunter College, 1991.

—. Interview with the author. New York, N.Y., November 19, 1991.

Gosling, Nigel. “The Intellect in Command.” The Observer (London), April 27, 1969.

Graham, Dan. Rock My Religion: Writings and Art Projects 1965–1990, ed. Brian Wallis. Cambridge, Mass. and London: MIT Press, 1993.

—. “Carl Andre.” Arts Magazine 42:3 (December 1967/January 1968): 34.

Graham, John. System and Dialectics of Art, ed. Marcia Epstein Allentuck. Baltimore: Johns Hopkins University Press, 1971.

Gray, Camilla. The Russian Experiment in Art 1863–1921. London: Thames and Hudson, 1962.

Greenberg, Clement. “After Abstract Expressionism.” Art International 6:8 (October 25, 1962): 30–1.

—. Art and Culture. Boston: Beacon Press, 1961.

—. The Collected Essays and Criticism, vols, I–IV, ed. John O’Brian. Chicago and London: University of Chicago Press, 1986–93.

—. Interview with the author. New York, N.Y., October 22, 1993.

—. “Introduction to Jules Olitski at the Venice Biennale.” XXXIII International Biennial Exhibition of Art, Venice. Washington, D.C.: Smithsonian Institution, June-October 1966.

—. Post Painterly Abstraction. Los Angeles County Museum of Art, 1964.

—. “Recentness of Sculpture.” Repr. in Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

—. Clement Greenberg Papers. Getty Research Institute for the History of Art and the Humanities, Los Angeles.

Grossberg, Jacob. “In the Galleries.” Arts Magazine 39:4 (January 1965): 54.

—. “In the Galleries.” Arts Magazine 39:7 (April 1965): 57–8.

—. “In the Galleries.” Arts Magazine 39:10 (September/October 1965): 72.

Guberman, Sidney. Frank Stella: An Illustrated Biography. New York: Rizzoli, 1995.

Guilbaut, Serge. How New York Stole the Idea of Modern Art. Chicago and London: University of Chicago Press, 1983.

—, ed. Reconstructing Modernism: Art in New York, Paris, and Montreal 1945–1964. Cambridge, Mass. and London: MIT Press, 1990.

Habermas, Jiirgen. “Modernity – An Incomplete Project.” In Hal Foster, ed. The Anti-Aesthetic. Port Townsend, Wash.: Bay Press, 1983.

D’Harnoncourt, Anne and Kynaston McShine. Marcel Duchamp. Philadelphia: Philadelphia Museum of Art, 1973.

Harrison, Charles. Essays on Art and Language. Oxford: Basil Blackwell, 1991.

Haskell, Barbara. Donald Judd. New York: Whitney Museum of American Art, 1988.

— and John Hanhardt. Blam! The Explosion of Pop, Minimalism, and Performance 1958–64. New York: Whitney Museum of American Art, 1984.

Held, Jutta. “Minimal Art: eine amerikanische Ideologic” (1972). Repr. in Minimal Art: Eine kritische Retrospektive, ed. Gregor Stemmrich. Dresden: Verlag der Kunst, 1995.

Heller, Ben. Towards a New Abstraction. New York: The Jewish Museum, 1963.

Hess, Thomas. Barnett Newman. New York: The Museum of Modern Art, 1971.

Hobbs, Robert. Robert Smithson: Sculpture. Ithaca: Cornell University Press, 1981.

Hooten, Bruce. Interview with Donald Judd, February 3, 1965. Archives of American Art, Smithsonian Institution, Washington, D.C.

Hopps, Walter. Anne Truitt: Sculptures and Drawings 1961–1973. Washington, D.C.: Corcoran Gallery of Art, 1974.

Horkheimer, Max and Theodor Adorno. Dialectic of Enlightenment, trans. John Cumming. New York: Continuum, 1990.

Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington and Indianapolis: Indiana University Press, 1986.

Jameson, Fredric. “Periodizing the Sixties.” In Sohnya Sayres et al, eds. The Sixties Without Apology. Minneapolis: University of Minnesota Press, 1984.

—. Postmodernism. Durham, N.C.: Duke University Press, 1991.

Johnston, Jill. “Mixed Group.” Artnews 63:3 (May 1964): 15.

—. “Review: Anne Truitt,” Artnews 62:1 (March 1963): 16.

Jones, Caroline. Machine in the Studio: Constructing the Postwar American Artist. Chicago and London: University of Chicago Press, 1996.

Judd, Donald. Architektur. Münster: Westfalischer Kunstverein, 1989.

—. “Aspects of Flavin’s Work.” In Brydon Smith, ed. fluorescent light, etc. from Dan Flavin. Ottawa: National Gallery of Canada, 1969.

—. “Black, White, and Gray.” Arts Magazine 38:6 (March 1964): 36–8.

—. “Complaints I.” Studio International 177:910 (April 1969): 182–5.

—. Complete Writings 1959–1975. Halifax: Press of the Nova Scotia College of Art and Design, 1975.

—. Complete Writings 1975–1986. Eindhoven: Stedelijk van Abbemuseum, 1987.

—. Interview with the author. Marfa, Tex., October 27, 1991.

—. “Local History.” Arts Yearbook 7 (1964): 23–35.

—. “A long discussion not about master-pieces but why there are so few of them, Parts I and II” (1984). In Complete Writings 1975–1986. Eindhoven: Stedelijk van Abbemuseum, 1987.

—. “New York Letter: Noland and Poons.” Art International 9:3 (April 1965): 75.

—. “Barnett Newman.” Studio International 179:919 (February 1970): 67–9.

—. “Some Aspects of Color in General and Red and Black in Particular.” Artforum 32:10 (Summer 1994): 70–9, 111, 113.

—. “Specific Objects.” Arts Yearbook 8 (1965): 74–82.

— et al. Raume: Kunst + Design. Stuttgart: Cantz Verlag, 1993.

Donald Judd Furniture: Retrospective. Rotterdam: Museum Boymans-van Beuningen, 1993.

Kandinsky, Wassily. “The Effect of Color.” Repr. in Theories of Modern Art, ed. Hirschel B. Chipp. Berkeley: University of California Press, 1968.

Kaprow, Allan. Essays on the Blurring of Art and Life. (Berkeley and London: University of California Press, 1993).

Karmel, Pepe. Robert Morris: The Felt Works. New York: Grey Art Gallery, New York University, 1989.

Karp, Ivan. Interview with the author. New York, N.Y., January 25, 1992.

Kohler, Wolfgang. Gestalt Psychology. New York: Liveright, 1947; 2nd paperback edition, 1992.

Kosuth, Joseph. Art After Philosophy and After: Collected Writings, 1966–1990, ed. Gabriele Guercio. Cambridge, Mass. and London: MIT Press, 1991.

Kramer, Hilton. “An Art of Boredom?” The New York Times, June 5, 1966.

—. “Art: Constructed to Donald Judd’s Specifications.” The New York Times, February 19, 1966.

—. “The Season Surveyed.” Art in America 52:3 (1964): 112.

—. “‘Primary Structures’: The New Anonymity.” The New York Times, May 1, 1966.

Krauss, Rosalind E. “Afterthoughts on ‘Op.’“ Art International 9:5 (June 1965): 75–6.

—. “Allusion and Illusion in Donald Judd.” Artforum 4:9 (May 1966): 24–6.

—. “The Cultural Logic of the Late Capitalist Museum.” October 54 (Fall 1990): 3–17.

—. “How Paradigmatic is Anthony Caro?” Art in America 63:5 (September/October 1975): 80–3.

—. “The Im/Pulse to See.” In Hal Foster, ed. Vision and Visuality. Seattle: Bay Press, 1988.

—. “The LeWitt Matrix.” In Sol LeWitt: Structures 1962–1993. Oxford: Museum of Modern Art, 1993.

—. “The Material Uncanny.” In Donald Judd: Early Fabricated Work. New York: PaceWildenstein, 1998.

—. “The Mind/Body Problem: Robert Morris in Series.” In Robert Morris: The Mind/Body Problem. New York: Solomon R. Guggenheim Museum, 1994.

—. The Optical Unconscious. Cambridge, Mass. and London: MIT Press, 1993.

—. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass. and London: MIT Press, 1985.

—. “Overcoming the Limits of Matter: On Revising Minimalism.” In John Elderfield, ed. American Art of the 1960s. New York: The Museum of Modern Art, 1991.

—. Passages in Modern Sculpture. Cambridge, Mass. and London: MIT Press, 1977.

—. “Sense and Sensibility: Reflections on Post ‘60s Sculpture.” Artforum 12:3 (November 1973): 149–56.

—. “A View of Modernism.” Artforum 11:1 (September 1972): 48–51.

Kubler, George. The Shape of Time. New Haven and London: Yale University Pres, 1962.

Kuspit, Donald. “Sol LeWitt: The Look of Thought.” Art in America 63:5 (September/October 1975): 42–9.

Lee, David. “Serial Rights.” Artnews 66:8 (December 1967): 42–5, 68–9.

Leen, Frederik. “... Notes for an Electric Light Art (Dan Flavin).” Forum International 15 (November/December 1992): 71–81.

Legg, Alicia, ed. Sol LeWitt. New York: The Museum of Modern Art, 1978.

Leider, Philip. “Art of the Real, Museum of Modern Art.” Artforum 7:1 (September 1968): 65.

—. “Literalism and Abstraction: Frank Stella’s Retrospective at the Modern.” Artforum 8:8 (April 1970): 44–51.

Leveque, Jean-Jacques. “Dans le piége.” Nouvelles Litter aires, November 28, 1968.

Levin, Bernard. “Art May Come and Art May Go But a Brick is a Brick For Ever.” The Times (London), February 18, 1976.

Levin, Kim. “Shape and Structure 1965.” Artnews 63:10 (February 1965): 16.

LeWitt, Sol. “The Cube.” In Alicia Legg, ed. Sol LeWitt. New York: The Museum of Modern Art, 1978.

—. Interview with the author. Chester, Conn., September 30, 1991.

—. Letter to the author, December 4, 1995.

—. “Paragraphs on Conceptual Art.” In Alicia Legg, ed. Sol LeWitt. New York: The Museum of Modern Art, 1978.

—. “Sentences on Conceptual Art.” In Alicia Legg, ed. Sol LeWitt. New York: The Museum of Modern Art, 1978.

—. “Serial Project No. 1 (ABCD).” Aspen Magazine 516 (1966).

Sol LeWitt. The Hague: Gemeentemuseum, 1970.

Sol LeWitt: Drawings 1958–1992, ed. Susanna Singer. The Hague: Gemeentemuseum, 1992.

Sol LeWitt: Structures 1962–1993. Oxford: Museum of Modern Art, 1993.

Sol LeWitt: Twenty-Five Years of Wall Drawings, 1968–1993. Seattle: University of Washington Press, 1993.

Sol LeWitt: Wall Drawings 1984–1992, ed. Susanna Singer. Bern: Kunsthalle, 1992.

Lippard, Lucy R. Changing: Essays in Art Criticism. New York: Dutton, 1971.

—. The Dematerialization of the Art Object. New York: Dutton, 1968.

—. “Eccentric Abstraction” (1966). In The New Sculpture 1965–1975. Between Geometry and Gesture. New York: Whitney Museum of American Art, 1990.

—. Eva Hesse. New York: Da Capo Press, 1976. —. Interview with the author. New York, N.Y., December 2, 1991.

—. Interview with Donald Judd, April 10, 1968. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. “Sol LeWitt: Non-Visual Structures.” Artforum 5:8 (April 1967): 42–6.

—. “New York Letter.” Art International 9:1 (February 1965): 34–7.

—. “New York Letter.” Art International 9:2 (March 1965): 46–52.

—. “New York Letter.” Art International 9:6 (September 20, 1965): 58–9.

—. “New York Letter: Recent Sculpture as Escape.” Art International 10:2 (February 1966): 50.

—. “New York Letter: Rejective Art.” Art International 10:8 (October 1966): 33–7.

—. “Larry Poons: The Illusion of Disorder.” Art International 11:4 (April 20, 1967): 22–6.

—. “10 Structurists in 20 Paragraphs.” In Enno Develing, ed. Minimal Art. The Hague: Gemeentemuseum, 1968.

—. Tony Smith. New York: Abrams, 1972.

Lucie-Smith, Edward. “Things Seen.” The Times (London), April 29, 1969.

Lodder, Christina. Russian Constructivism. New Haven and London: Yale University Press, 1989.

Lynes, Russell. Good Old Modem: An Intimate Portrait of the Museum of Modern Art. New York: Atheneum, 1973.

Madoff, Steven Henry, ed. Pop Art: A Critical History. Berkeley: University of California Press, 1997.

Marcuse, Herbert. An Essay on Liberation. Boston: Beacon Press, 1969.

—. One-Dimensional Man. Boston: Beacon Press, 1964.

Markovits, Andrei S. “On Anti-Americanism in West-Germany.” New German Critique 54 (Winter 1985): 3–27.

— and Philip S. Gorski. The German Left: Red, Green and Beyond. Oxford and New York: Oxford University Press, 1993.

Marteil, Annemarie. Review of “Amerikanisches Raumkunst.” Solothurm Zeitung and Grenchner Tagblatt, February 8, 1969.

The Alistair McAlpine Bequest. London: Tate Gallery, 1971.

McShine, Kynaston. Interview with the author. New York, N.Y., January 30, 1992.

—. Primary Structures. New York: Jewish Museum, 1966.

—, ed. Andy Warhol: A Retrospective. New York: The Museum of Modern Art, 1989.

Mellow, James R. “ ‘Everything Sculpture Has, My Work Doesn’t.’“ The New York Times, March 10, 1968.

—. “New York Letter.” Art International 12:2 (February 1968): 73.

—. “New York Letter.” Art International 12:8 (October 1968): 60–1.

Melville, Robert. “A Touch of Isness.” The New Statesman, May 9, 1969.

—. “Minimalism.” Architectural Review 146:870 (August 1969): 146–8.

Melville, Stephen. “Notes on the Reemergence of Allegory, the Forgetting of Modernism, the Necessity of Rhetoric, and the Conditions of Publicity in Art and Criticism.” October 19 (Winter 1981): 55–92.

—. Philosophy Beside Itself: On Deconstruction and Modernism. Minneapolis: University of Minnesota Press, 1986.

Merleau-Ponty, Maurice. “Cezanne’s Doubt.” In Sense and Non-Sense, trans. Hubert L. Dreyfus and Patricia Allen Dreyfus. Evanston: Northwestern University Press, 1964.

—. Phenomenology of Perception, trans. Colin Smith. London: Routledge and Kegan Paul, 1962.

—. Signs, trans. Richard C. McLeary. Evanston: Northwestern University Press, 1964.

Meyer, James. “Carl Andre: Passport.” In Susan Faxon, Avis Berman, and Jock Reynolds, eds. Addison Gallery of American Art: 65 Years. Andover, Mass.: Addison Gallery of American Art, 1996.

—. “The Second Degree: Working Drawings and Other Works on Paper Not Necessarily Meant to be Viewed as Works of Art. In Richard Field, ed. Mel Bochner: Thought Made Visible. New Haven: Yale University Art Gallery, 1995.

—. “The Uses of Merleau-Ponty: Fried, Michelson, Krauss.” In Christoph Metzger and Nina Móntmann, eds. Minimalisms. Stuttgart: Cantz Verlag, 1998.

—. “The Writing of ‘Art and Objecthood.’“ In Jill Beaulieu, Mary Roberts, and Toni Ross, eds. Refracting Vision: A Critical Anthology on the Writings of Michael Fried. Sydney: Power Institute of Fine Arts, University of Sydney, 2000.

—, ed. Minimalism. London: Phaidon, 2000.

Meyer, Ursula. “De-Objectification of the Object.” Arts Magazine 43:5 (Summer 1969): 20–2.

—. “The Eruption of Anti-Art.” In Gregory Battcock, ed. Idea Art. New York: Dutton, 1973.

Meyer-Hermann, Eva. Carl Andre: Sculptor 1996. Stuttgart: Oktagon, 1996.

Michelson, Annette. Robert Morris: An Aesthetics of Transgression. Washington, D.C.: Corcoran Gallery of Art, 1969.

—. “10 x 10: ‘Concrete Reasonableness.’” Artforum 5:5 (January 1967): 30–1.

Mitchell, Arnold. The Arts and Business: A Confidential Report by the Long Range Planning Service. Menlo Park, Calif.: Stanford Research Institute, 1962.

Morris, Robert. “Anti Form.” Artforum 6:8 (April 1968): 33–5.

—. “Blank Form.” Repr. in Barbara Haskell and John Hanhardt, eds. Blam! The Explosion of Pop, Minimalism, and Performance 1958–1964. New York: Whitney Museum of American Art, 1984.

—. Continuous Project Altered Daily: The Writings of Robert Morris. Cambridge, Mass. and London: MIT Press, 1993.

—. Interview with the author. New York, N.Y., December 6, 1991.

—. “Notes on Sculpture, Part I.” Artforum 4:6 (February 1966): 42–4, and “Notes on Sculpture, Part II.” Artforum 5:2 (October 1966): 20–3. Repr. in Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

—. “Notes on Sculpture, Part IV: Beyond Objects.” Artforum 7:8 (April 1969): 50–4, 68.

—. “Some Notes on the Phenomenology of Making: The Search for the Motivated.” Artforum 8:8 (April 1970): 88–91.

Robert Morris: The Mind/Body Problem. New York: Solomon R. Guggenheim Museum, 1994.

Mullaly, Terence. “The Road Back to Truth.” The Daily Telegraph (London), May 31, 1969.

Naifeh, Steven W. Culture Making: Money, Success, and the New York Art World. Princeton University Undergraduate Studies in History, 1976.

“Neither Op nor Pop.” Architect and Building News, May 22, 1969.

Neuberg, Hans. Review of “Amerikanische Raumkunst.” Die Tat, February 22, 1969.

“The New Druids.” Newsweek, May 16, 1966.

The New Generation: 1965. London: Whitechapel Art Gallery, 1965.

“The New Sculpture.” Transcript of a symposium on “Primary Structures.” Jewish Museum, New York, May 2, 1966. Archives of American Art, Smithsonian Institution, Washington, D.C.

Newman, Barnett. “Interview with David Sylvester.” In Selected Writings and Interviews, ed. John P. O’Neill. New York: Knopf, 1990.

—. “Letter to Clement Greenberg.” In John P. O’Neill, ed. Selected Writings and Interviews. New York: Knopf, 1990.

—. Unpublished letter to Barbara Rose, October 25, 1966. Estate of Barnett Newman.

O’Connor, John J. “Exploring Space.” Wall Street Journal, June 6, 1966.

O’Doherty, Brian. “Art: Avant-Garde Deadpans on the Move – Kaymar Gallery Shows Recent Works.” The New York Times, April 11, 1964.

—. Inside the White Cube: The Ideology of the Gallery Space. Santa Monica and San Francisco: Lapis Press, 1976.

—. “Recent Openings.” The New York Times, December 21, 1963.

—. “Frank Stella and a Crisis of Nothingness.” The New York Times, January 19, 1964.

Oliva, Achule Bonito, ed. Ubi Fluxus ibi motus 1990–62. Venice: Mazzotta, 1990.

Oliver, W. T. “Taking a Trip in a Time Machine.” The Yorkshire Post, May 9, 1969.

“On the New York Art Scene.” Harper’s Bazaar 99:3056 (July 1966): 94–5.

Overy, Paul. “The Art of the Real.” The Financial Times (London), April 29, 1969.

Owens, Craig. Beyond Recognition: Representation, Power, and Culture, ed. Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock. Berkeley: University of California Press, 1992.

—. “Earthwords.” October 10 (Fall 1979): 120–30.

Parsy, Paul-Hervé. Art minimal. Paris: Centre Georges

Pompidou, 1992. Perreault, John. “Plastic Ambiguities.” Village Voice, March 7, 1968.

—. “Union-Made: Report on a Phenomenon.” Arts Magazine 41:5 (March 1967): 26–31.

Perrone, Jeff. “Carl Andre: Art Versus Talk.” Artforum 14:9 (May 1976): 32–3.

Perry, Ralph Barton. General Theory of Value: Its Meaning and Basic Principles Construed in Terms of Interest. New York: Longmans, Green, 1926.

Picard, Lil. “An Interview with Herself.” East Village Other, May 1966. “Primary Structures” Papers, Archives of the Jewish Museum, New York.

Pincus-Witten, Robert. Eye to Eye: Twenty Years of Art Criticism. Ann Arbor: UMI Research Press, 1984.

—. “Sol LeWitt: Word = Object.” Artforum 11:6 (February 1973): 69–72.

—. Postminimalism into Maximalism: American Art, 1966–1986. Ann Arbor: UMI Research Press, 1987.

—. “‘Systemic’ Painting.” Artforum 5:3 (November 1966): 43.

Plagens, Peter. “The Heart of the Matter: Sculptor Anne Truitt’s Baltimore Show is a Jewel.” Newsweek, March 30, 1992.

Plante, Michael David. “The ‘Second Occupation’: American Expatriate Painters and the Reception of American Art in Paris, 1946–58.” Ph.D diss., Brown University, 1992.

Pleynet, Marcelin. L’Enseignement de la peinture. Paris: Seuil, 1971.

Poons, Larry. Interview with John Zinsser. In Larry Poons Paintings 1963–90. New York: Salander O’Reilly Gallery, 1990.

Ezra Pound and the Visual Arts, ed. Harriet Zinnes. New York: New Directions, 1980.

Rainer, Yvonne. “A Quasi Survey of some ‘Minimalist’ Tendencies in the Quantitively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A.” In Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

Rasmussen, Waldo. Letter to Peter F. Althaus, Curator, Basel Kunsthalle, July 18, 1968. Archives of The Museum of Modern Art, New York.

“The Reception of the Sixties.” Roundtable discussion, October 69 (Summer 1994): 3–21.

Reise, Barbara. “Greenberg and the Group: A Retrospective View, Parts I and II.” Studio International 175:900 and 901 (May/June 1968): 254–7 and 314–16.

—. ‘“Untitled 1969’: A Footnote on Art and Minimal Stylehood.” Studio International 177:910 (April 1969): 166–72.

Reynolds, Ann Morris. Robert Smithson: Learning from New Jersey and Elsewhere. Ph.D diss., City University of New York, 1993.

Reynolds, Jock. American Abstraction at the Addison. Andover, Mass.: Addison Gallery of American Art, 1991.

Richard, Paul. “Truitt’s Box Sculptures: Now You See Them.” The Washington Post, April 24, 1971.

Richardson, Brenda. Frank Stella: The Black Paintings. Baltimore: Baltimore Museum of Art, 1976.

Robbe-Grillet, Alain. For a New Novel, trans. Richard Howard. New York: Grove Press, 1965.

Robins, Corinne. “Four Directions at Park Place.” Arts Magazine 40:6 (June 1966): 20–4.

—. “Object, Structure or Sculpture: Where Are We?” Arts Magazine 40:9 (September 1966): 33–7.

Robson, Deirdre. “The Avant-Garde and the On-Guard: Some Influences on the Potential Market for the First Generation Abstract Expressionists in the 1940s and Early 1950s.” Art Journal 47:3 (Fall 1988): 215–21.

—. “The Market for Abstract Expressionism: The Time

Lag Between Critical and Commercial Acceptance.” Archives of American Art Journal 25:3 (1985): 18–23.

Rose, Barbara. “ABC Art.” Art in America 53:5 (October/November 1965): 57–69.

—. Autocritique. New York: Weidenfeld and Nicholson, 1988.

—. Interviews with the author. New York, N.Y., February 11 and 13, 1992.

—. Interview with Dan Flavin, [1968]. Barbara Rose Papers, Getty Research Institute, Los Angeles, Box 1, File 40.

—. Interview with Donald Judd, [1971–72]. Barbara Rose Papers, Getty Research Institute, Los Angeles, Box 1, File 40, Roll 3.

—. Interview with Don Judd and Frank Stella, December 18, 1967. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. “Is Easel Painting Dead?” Symposium held at the Loeb Center, New York University, November 1966. Transcript in the Archives of American Art, Smithsonian Institution, Washington, D.C.

—. “Looking at American Sculpture.” Artforum 3:5 (February 1965): 29–36.

—. A New Aesthetic. Washington, D.C.: Washington Gallery of Modern Art, 1967.

—. “New York Letter.” Art International 8:1 (February, 15, 1964): 41.

—. “New York Letter.” Art International 8:5/6 (Summer 1964): 80.

—. “Problems of Criticism V: The Politics of Art, Part II.” Artforum 7:5 (January 1969): 44–9.

—. Barbara Rose Papers. Getty Research Institute for the History of Art and the Humanities, Los Angeles.

—, ed. Pollock Painting: Photographs by Hans Namuth. New York: Agrinde, 1978.

— and Irving Sandler, eds. “Sensibilities of the Sixties.” Art in America 55:1 (January/February 1967): 4457.

Rosenblum, Robert. “Name in Lights: Robert Rosenblum on Dan Flavin.” Artforum 36:7 (March 1997): 11–12.

—. “Pop Art and Non-Pop Art.” Art and Literature 5 (Summer 1965): 80–93.

Rubenfeld, Florence. Clement Greenberg: A Life. New York: Scribner, 1997.

Rubin, Lawrence. Prank Stella Paintings 1958–1965. New York: Stewart, Tabori and Chang, 1986.

Rubin, William. Frank Stella. New York: The Museum of Modern Art, 1970.

—. Frank Stella 1970–1987. New York: The Museum of Modern Art, 1987.

Rublowsky, John. Pop Art. New York: Basic Books, 1965.

Ruda, Edwin. “Park Place 1963–1967: Some Informal Notes in Retrospect.” Arts Magazine 41:10 (November 1967): 30–3.

Sandler, Irving. American Art of the 1960s. New York: Harper and Row, 1988.

—. “Gesture and Non-Gesture in Recent Sculpture.” In Gregory Battock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

—. “John D. Graham: The Painter as Esthetician and Connoisseur.” Artforum 7:2 (October 1968): 51ff.

—. “The New Cool-Art.” Art in America 53:1 (February 1965): 96–101.

Schapiro, Meyer. Modern Art: 19th and 20th Centuries. New York: Braziller, 1979.

—. “The Still Life as a Personal Object: A Note on Heidegger and Van Gogh.” In The Reach of Mind: Essays in Memory of Kurt Goldstein, ed. Marianne L. Simmel. New York: Springer, 1968.

Schjeldhahl, Peter. “The Smartass Problem.” Village Voice, March 1, 1994.

—. “Systems ‘66.” Village Voice, September 29, 1966.

Schwartz, Therese. “The Politicization of the Avant-Garde.” Art in America 59 (November/December 1971): 97–105.

Seddon, Richard. “American Art at the Tate Gallery.” The Birmingham Post, April 30, 1969.

Seitz, William C. The Responsive Eye. New York: The Museum of Modern Art, 1965.

Serota, Nicholas. Carl Andre Sculpture 1959–1977. London: Whitechapel Art Gallery, 1978.

Siegel, Jeanne. “Carl Andre: Artworker.” In Artwords. Ann Arbor: UMI Research Press, 1985.

Smith, Brydon. fluorescent light, etc. from Dan Flavin. Ottawa: National Gallery of Canada, 1969.

—. ed. Donald Judd. Catalogue raisonné. Ottawa: National Gallery of Canada, 1975.

Smith, Roberta. “Donald Judd.” In Brydon Smith, ed. Donald Judd. Ottawa: National Gallery of Canada, 1975.

Smithson, Robert. “The Cryosphere.” In Kynaston McShine, Primary Structures. New York: The Jewish Museum, 1966.

—. Robert Smithson: The Collected Writings, ed. Jack Flain. Berkeley: University of California Press, 1996.

—. The Writings of Robert Smithson, ed. Nancy Holt. New York University Press, 1979.

Robert Smithson: A Collection of Writings on Robert Smithson on the Occasion of the Installation of “Dead Tree” at Pierogi 2000, ed. Brion Conley and Joe Amrhein. New York: Pierogi 2000, 1997.

Sontag, Susan. Against Interpretation. New York: Farrar, Straus & Giroux, 1966.

—. A Susan Sontag Reader. New York: Farrar, Straus & Giroux, 1982.

Spector, Buzz. Objects and Logotypes: Relationships Between Minimal Art and Corporate Design. Chicago: The Renaissance Society at the University of Chicago, 1980.

Steinberg, Leo. “Other Criteria.” Other Criteria. Oxford, London, and New York: Oxford University Press, 1972.

Stella, Frank. Lecture delivered at the Pratt Institute, Brooklyn, New York, January or February 1960. Repr. in Brenda Richardson, Frank Stella: The Black Paintings. Baltimore: Baltimore Museum of Art, 1976.

—. Working Space. Cambridge, Mass. and London: Harvard University Press, 1986.

Stich, Sidra. Made in USA: An Americanization in Modern Art, the 50s and 60s. Berkeley: University Art Museum, University of California, 1987.

Stone, Peter. “A Terrible Waste of Tate Space.” Jewish Chronicle, May 2, 1969.

Strickland, Edward. Minimalism: Origins. Bloomington: Indiana University Press, 1993.

Stuckey, Charles. Interview with Virginia Dwan, May 2, 1984. Archives of American Art, Smithsonian Institution, Washington, D.C.

Swenson, G. R. The Other Tradition. Philadelphia: The Institute of Contemporary Art, University of Pennsylvania, 1966.

—. “Reviews and Previews: New Names this Month.” Artnews 62 (February 1964): 20.

Szarkowski, John, et al. The Museum of Modern Art at Mid-Century: At Home and Abroad. Studies in Modern Art, No. 4. New York: The Museum of Modern Art, 1994.

Ten. New York: Dwan Gallery, 1966.

Teodori, Massimo, ed. The New Left: A Documentary History. Indianapolis: Bobbs-Merrill, 1969.

Toffler, Alvin. The Culture Consumers: A Study of Art and Affluence in America. New York: St. Martin’s Press, 1964.

Tomkins, Calvin. “Raggedy Andy.” In Gerald Howard, ed. The Sixties: Art, Politics, and Media of Our Most Explosive Decade. New York: Paragon House, 1991.

Truitt, Anne. Daybook: The Journal of an Artist. New York and London: Penguin, 1984.

—. Interview with the author. Washington, D.C., July 11–12, 1997.

—. Prospect: The Journal of an Artist. New York and London: Scribner, 1996.

—. Turn: The Journal of an Artist. New York and London: Viking Penguin, 1986.

Anne Truitt: Sculpture 1961–1991. With an introduction by Jane Livingston. New York: André Emmerich Gallery, 1991.

Tuchman, Maurice. “The Russian Avant-Garde and the Contemporary Artist.” In Stephanie Barron and Maurice Tuchman, eds. The Avant-Garde in Russia 1910–1930: New Perspectives. Los Angeles: Los Angeles County Museum of Art, 1980.

Tuchman, Phyllis. “An Interview with Carl Andre.” Artforum 8:10 (June 1970): 55–61.

Tucker, Marcia. Robert Morris. New York: Whitney Museum of American Art, 1970.

— and James Monte. Anti-Illusion: Procedures, Materials. New York: Whitney Museum of American Art, 1969.

Varian, Elayne. Art in Process: The Visual Development of a Structure. New York: Finch College Museum of Art/Contemporary Study Wing, 1966.

Wagner, Anne Middleton. “Another Hesse.” In Three Artists (Three Women). Berkeley: University of California Press, 1997.

Wagstaff, Samuel. Interview. Newtown Bee, January 3, 1964.

—. Letter to Robert Morris. December 11, 1963. “Black, White, and Gray” Papers, Archives of the Wadsworth Atheneum, Hartford, Conn.

—. Letter to Betty Parsons, March 24, 1964. “Black, White, and Gray” Papers, Archives of the Wadsworth Atheneum, Hartford, Conn.

—. Letter to Frank Stella. December 10, 1963. “Black, White, and Gray” Papers, Archives of the Wadsworth Atheneum, Hartford, Conn.

—. Letter to Andy Warhol. December 11, 1963. “Black, White, and Gray” Papers, Archives of the Wadsworth Atheneum, Hartford, Conn.

—. “Paintings to Think About.” Artnews 62:9 (January 1964): 38.

—. “Second Thoughts on ‘Black, White, and Gray.’ “Lecture Notes. Transcript in the “Black, White, and Gray” Papers, Archives of the Wadsworth Atheneum, Hartford, Conn.

Waldman, Diane. “Finch College Museum’s ‘Art in Process.’“ Artnews 65 (September 1966): 72.

Walker, Donald. “Arty Crafty – For the Tate Gallery: A brickbat from the boys on the building site.” Daily Mirror, February 17, 1976.

Warhol, Andy and Pat Hackett. Popism: The Warhol Sixties. New York: Harcourt Brace, 1980.

Weber, John. Letter to Ginseppe di Panza. January 23, 1969. Panza Collection Archives, Solomon R. Guggenheim Museum, New York.

Wells, Jennifer. “The Sixties: Pop Goes the Market.” In Definitive Statements: American Art 1964–66, ed. Kermit Champa. Providence, R.I.: Brown University, 1986.

“What’s All This? Not What it Seemed?” Extract from Dundee Courier and Advertiser, n.d. The Museum of Modern Art Archives, New York.

Wigley, Mark. White Walls, Designer Dresses: The Fashioning of Modern Architecture. Cambridge, Mass. and London: MIT Press, 1995.

Willard, Charlotte. “The Shape of Things to Come.” New York Post, May 8, 1966.

Wittgenstein, Ludwig. Philosophical Investigations, 3rd edition, trans. G. E. M. Anscombe. New York: Macmillan, 1968.

—. Tractatus Logico-Philosophicus, 2nd paperback edition, trans. D. F. Pears and B. E McGuinness. London: Routledge Humanities Press International, 1988.

Wolfe, Tom. The Pump House Gang. New York: Farrar, Straus & Giroux, 1968.

Wollheim, Richard. Letter to the author, October 23, 1993.

—. Letter to the author, November 30, 1993.

—. “Minimal Art.” Arts Magazine 39:4 (January 1965): 26–32. Reprinted in Gregory Battcock, ed. Minimal Art: A Critical Anthology. New York: Dutton, 1968.

Zinnes, Harriet, ed. Ezra Pound and the Visual Arts. New York: New Directions, 1980.

Next chapter

Base text size -

Chapter images ()