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Meyer, James

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Index

James Meyer

Minimalism: Art and Polemics in the Sixties

Index

Author

James Meyer

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31651

Index

ABC Art 3, 5, 20, 30, 144–50, 153, 155, 156, 247

Abstract Imagists 66–8; see also Kelly, Ellsworth; Louis, Morris; Noland, Kenneth; Stella, Frank

abstraction: color field 47, 84, 111, 119, 215, 253, 279 n.22

and formalism 233, 309 n.144

gestural 66, 84

and pop 46

post-painterly 66, 84, 211, 221

three-dimensional 3–4, 113–16, 119, 135; see also expressionism, abstract; Hard-Edged abstraction; op art; opticality

academicism, and modernism 214

Action Painting 28, 46–7, 63–6, 73, 77

and Greenberg 220–21

and Judd 35, 83, 134

and Rosenberg 81

and Truitt 39, 72

Addison Gallery of American Art 40

Adorno, Theodor 187, 274 n.52, 301 n.135, 306 n.59

aesthetic, minimal 30, 33, 56

Agee, William 248

Agostini, Peter 278 n.9

Alberro, Alexander 271 n.11, 275 n.67

Albers, Josef 87, 167, 274 n.50

Homages to the Square 171

Aldrich, Larry 129

Allentuck, Marcia 284 n.30

Alloway, Laurence 262, 277 n.24

and “Shaped Canvas” exhibition 119, 298 n.75

and “Systemic Painting” exhibition 126, 170–71, 249, 298 n.75

“American Abstract Expressionists and Imagists” 63–7

Americanness: and literalism 254, 256–60, 263–4

and wholeness 88, 91

Anderson, John 34–5, 294 n.86

Andre, Carl 33, 249

and ABC Art 20, 145, 148–50, 296 n.139

and Brancusi 127

and bricks 81, 186–7, 189–96, 198, 215

and capitalism (critique of) 186, 188

and conceptualism 82–3, 132–3

and dadaism 85

early life and education 40–41

and Frampton, Hollis 277 n.40, 290 n.144

as freight brakeman 34, 42, 189, 194

and horizontality 192–6, 302 n.160

and Judd 41–2, 60

and land art 275 n.77

and LeWitt 202, 208, 303 n.186

and literalism 8

and minimalism 3–4, 80–81, 142, 148, 214–15, 228, 250

and modernism 112

and Morris 119–21, 278 n.47, 291 n.6

and painting 171

and place 129–33

and Povind 127

and Stella 40–42, 92, 113, 122, 123, 153, 254, 286 n.71, 289 n.137, 293 n.61, 302 n.147

studio 34, 289 n.137; see also anti-compositionality; body; conceptualism; factory production; formalism; horizontality; neo-dada

EXHIBITIONS: “Art of the Real” 313 n.35

Dwan Gallery show 196–9, 198;

“8 Young Artists” 42, 109–11, 289 nn.133, 137

“Minimal Art” 262, 263, 265–6, 315 n.83

overseas 269, 313 n.49

Tibor de Nagy show 7, 189–96; see also “Primary Structures”

“Shape and Structure” WORKS: Altstadt series 302 n.175

“Beam Room” 22–3

Cedar Piece 110, 111, 126, 132, 192, 194, 254, 289 n.137

Chain Well 129, 132, 292 n.50, 293 n.61

Coin 128, 128;

Compound 128, 128, 132

Concrete Crib 292 n.50

Crib 128, 128, 132

Eight Cuts 196, 197, 198

Elements series 42, 189, 194–5, 270, 278 n.44, 293 n.62

Equivalents I-VIII 7, 189–90, 190, 194–6, 270, 305 n.37

Equivalent VIII 191, 192–4, 261, 271 n.5

Field 303 n.187

Herm 194; 100

Aluminum Solid 292 n.50; 144

Pieces of Aluminum 261; 144

Pieces of Lead 198, 198; 144

Pieces of Magnesium 198, 198;

Ladders 41, 194

Lever 16, 16, 22, 82–3, S3, 133, 189, 194

Maple and Plastic Exercise 132, 133

One Grand Piece 292 n.50

Passport 41, 42, 127, 129–31, 130, 196, 277–8 n.42, 298 n.72

“Pizzas” 192–5

Pyramid (Square Plan) 41;

Pyramids series 41, 42, in, 112, 127, 131, 189, 194, 278 nn.44, 45, 289 n.137

Pedan 119, 120, 127, 129, 158, 192, 195

Run 269;

Spill (Scatter Piece) 195, 295, 270

37 Pieces of Work 199, 199;

Untitled (“Dog Turd” Sculpture) 192, 193, 194–5, 302 n.160

Untitled (“Grave Site”) 194

Untitled (Negative Sculpture) 132

Well 129, 130

Zox Slant Stack 292 n.50

WRITINGS 6, 285 n.56

poetry 42, 131–2, 148, 194, 293 n.55

“Preface to Stripe Painting” 126–7, 153; 12

Dialogies 127

Andre Emmerich Gallery 33–4

and Truitt 62, 63–74, 64, 73–4, 215, 222, 224, 224, 227, 283 n.2

Andrejevic, Milet 47

Annesley, David 23

Swing Low 12, 13

Anselmo, Giovanni 268

anthropomorphism 84, 134–5, 227, 233, 240, 309 n.145

Anti Form, and Morris 89, 251, 267–8, 269, 309 n.143

anti-compositionality 3, 47, 73, 87–90, 111–12, 170, 218, 239, 262

and Andre 56, 109, 111

in European art 258

and Flavin 56, 92–3, 100

and Fried 55–6, 280–81 n.44

and Judd 55–6, 88–90, 167, 171, 257

and Kelly 88, 281 n.45

and Morris 116, 160–61

and Newman 88

and Noland 88, 280–81 n.44

and Poons 55–6, 169

and Stella 56, 88–9, 100, 111, 257, 287 n.79

anti-formalism 4, 81, 267–9, 306 n.46

anti-intepretation 147–8, 150, 184–5

anti-subjection 77–8, 83, 109, 171, 180

Antin, David 162–3

Antonakos, Stephen 174

Anuszkiewicz, Richard 122, 274 n.50, 279 n.22

Apollinaire, Guillaume 37, 156

Arakawa 294 n.86

Arbus, Diane 25

architecture: and Andre 196

and Judd 166, 270

and Morris 70, 113, 156, 163

and sculpture 24, 51, 131–2

and Truitt 68–70, 74

Arman 133, 139, 278 n.9

Plein 132

Arnason, H. H. 63–6, 80–81

art: and Art-as-Art 73, 143

and “non-art” 86, 108, 116, 213, 260–61

and “not-art-enough” 84, 85, 99, 212, 213, 227, 249, 257

“The Art of Assemblage” (1961) 97

Art Concret 88

Art International 46, 147, 154

“Art in Process: The Visual Development of a Structure” (1966) 154, 172–5, 173, 178, 298–9 n.83

“Art in Process IV” (1969) 172–4

“Art of the Real” (1968) 8, 112, 252, 253–61, 259, 260, 262, 264, 266, 269, 313 n.49

“Art in Series” (1967) 172, 179–83, 180, 208

Art Students League 35, 277 n.22

Art Workers Coalition 186, 251, 313 n.37

Arte Povera 269

Artforum 46, 144–5, 153–7, 179, 217, 229, 255, 267

Artnews 35, 87, 132, 141, 281 n.74

Arts Magazine 4, 35, 46, 60, 73, 174, 184, 273 n.21

and Judd 134, 141, 248

Artschwager, Richard: and ABC art 145

and “Art as Process” 174

and specificity 139

WORKS: Pink Tablecloth 16, 17

Rocker 16

Ashbery, John 35, 147

Ashton, Dore 81, 254

assemblage art 50, 97, 99, 212–13, 217

authorship see intention

avant-garde: and modernism 211–17, 222, 235, 239

Russian 156

and technology 218–20

Baer, Jo 249, 298 n.74

and anti-composition 56, 126

EXHIBITIONS: “Art in Series” 179

“Eleven Artists” 34, 106–8

“Systemic Painting” 170

WORKS: Horizontal Flanking 303 n.187

Primary Light Group 179

Baker, Elizabeth C. 283 n.13

Banes, Sally 276 nn.9, 34, 278 n.12

Bannard, Walter Darby 41, 229, 236, 274 n.50

and ABC art 145, 149

and compositionality 217–18, 222

writings 217

EXHIBITIONS: “Art of the Real” 313 n.35

“8 Young Artists” 109

“Eleven Artists” 106, 108

Green Gallery 51, 52; see also “New Work: Part I” “Shape and Structure”

Bard, Joellen 276 n.8

Baringer, Richard 174

Barnet, Will 277 n.22

Barr, Alfred 313 n.45

Barry, Robert 109

Barthes, Roland 4, 147–9, 295 n.132, 296 n.143, 300 n.120, 308 n.117

Bartholdi, Auguste 130, 131

Batchelor, David 274 n.55, 300 n.117, 301 n.124, 304 n.211

Battcock, Gregory 249, 251, 253

Minimal Art 8, 87, 142, 249, 253

Bauermeister, Mary 174

Bauhaus, and functionalism 219, 307 n.68

Beaton, Cecil 80

Beckett, Samuel 147, 149, 187, 237, 295 n.132

Bell, Larry 5, 205

EXHIBITIONS: “The Responsive Eye” 274 n.50

Sao Paulo Bienal 293 n.69

“Shape and Structure” 119, 121, 126, 290 n.2; see also “Primary Structures”

Bellamy, Richard (Dick) 34–5, 41, 45, 278 n.45

and Judd 280 n.24

and Smith 289 n.136

see also Green Gallery

Benjamin, Walter 232

Bennington College 67, 109–11, 289 n.137

Berger, Maurice 270 n.34, 280 nn.27, 37

Bergson, Henri 277 n.23

Berrigan, Ted 132

Betty Parsons Gallery 29, 33, 67, 84, 280 n.42

Beuys, Joseph 113

Beveridge, Karl 264, 267

Bill, Max 87, 88, 257–8, 274 n.50

black, meaning of 78, 200

“Black and White” (1963–64) 77, 283 n.12

“Black, White, and Gray” (1964) 7, 23, 76, 77–81, 85–6, 87, 111, 113, 122, 144, 153, 290 n.147

Blackmur, R. P. 291 n.27, 309 n.148

Bladen, Ronald 5, 145, 149, 163, 166, 249

and specificity 139

EXHIBITIONS: “Minimal Art” 262, 265

“Primary Structures” 18–22, 24

WORKS: Elements 18–20

Untitled 18, 19;

The X 163, 165

Blank Form, and Morris 153, 162

Blok, C. 315 n.90

Bluhm, Norman 66

Blum, Irving 215

Bochner, Mel 5, 6, 145, 150, 153, 249, 265, 275 n.77, 308 n.109

and Andre 30

and “Art in Process” exhibition 174, 175

and “Art in Series” exhibition 172, 179–82, 208, 299 n.85

and Judd 30

and LeWitt 30, 202

and “Primary Structures” exhibition 30

and seriality 178–83

Sixteen Isomorphs 179, 181, 182

and Stella 30, 125, 230

and “Systemic Painting” exhibition 171

Working Drawings and Other Visible Things 175–9, 176–7, 182–3, 284, 187

body of viewer: and Andre 132, 196–9

and Fried 232–4, 241

and Krauss 241

and Morris 4, 51, 70, 116, 161–6, 197, 231, 240, 268

and “Primary Structures” 24

Bois, Yve-Alain 271 nn.6, 14, 280 n.25, 300 n.117, 310 n.163

and anti-compositionality 281 n.45, 299 n.104

and Greenberg 290 n.142

and horizontality 192

and Judd 290 n.144, 294 n.83

and Kelly 68–70, 313 n.43

and Reinhardt 282 n.75

Bollinger, Bill 268

Bolus, Michael 23

No. 6 16, 17

Bontecou, Lee 24, 48, 97, 138

Bouché, Louis 277 n.22

Bourdieu, Pierre 28

Bourdon, David 113, 276 n.8

and Andre 132, 189–90

and Flavin 106, 144, 289 n.123

and Park Place aesthetic 20, 163, 272 n.17

and scale 163

“Boxing Match” 290 n.147

Brancusi, Constantin 4, 90, 111, 154–5, 157, 264

Endless Column 126–7, 131

Braque, Georges, Still Life with Violin and Pitcher 279 n.22

Brauntuch, Troy 242

Brecht, Bertolt 237

Brecht, George: and “Black, White, and Gray” exhibition 86, 283 n.9

and readymades 289 n.123

and specificity 139

Table and Chair Event 86, 86

Brée, Germaine 282 n.85

Breuer, Marcel 248

Brooks, Rosetta 314 n.67

Brown, Gordon 248

Brown, Trisha 49

Buchloh, Benjamin 8, 275 n.67, 290 nn.145, 150, 292 n.29, 299 n.96

and Andre 195

and Duchamp 284 n.36

and LeWitt 304 nn.197, 209

and Stella 286 n.70

and Warhol 187, 274 n.53, 301 n.123

Bürger, Peter 187

Burn, Ian 264, 267

Byars, James Lee, and “Black, White, and Gray” exhibition 78, 283 n.9

Cage, John 21, 53, 153, 175, 271 n.8, 296 n.3

4’33” 162

influence 77, 86, 145, 161–2, 180, 182

and music 116, 235

and seriality 7, 184, 296 n.144

Calas, Nicholas 249

Canaday, John 25, 276 n.4

canvas, shaped 119, 124–5, 145, 212

capitalism, and minimalism 8, 25, 184–5, 186–8, 214, 217, 219, 227, 250, 264, 267–8

Capote, Truman 80

Caro, Anthony 72, 111, 155–6, 159

and horizontality 195

and relational abstraction 233–4

students 13, 16, 23, 272 n.8

Titan 12, 13

see also color; Fried, Michael; Greenberg, Clement

EXHIBITIONS: “Seven Sculptors” 134

“Shape and Structure” 119, 121 see also “Primary Structures”

Castellani, Enrico 274 n.50

Castelli Gallery 33–4, 154, 159, 292 n.30

and Judd 7, 29, 54, 167, 168, 172, 247, 305 n.37

and Morris 54, 268

and Stella 125, 289 n.127

Castelli, Leo 34, 41, 278 n.44

Castoro, Rosemarie 195, 293 n.64

Cavell, Stanley 229, 234–5, 236–9

and Fried 234–5, 237–9

and theatricality 237–9

Chamberlain, John 54, 88, 278 n.9, 280 n.29

and specificity 135, 138

EXHIBITIONS: “The Art of Assemblage” 97

“New Forms – New Media” 97

“Seven Sculptors” 134

Champa, Kermit 48

Chapman College, Purcell Gallery 82–4, 133, 172

Chapman, Michael 40, 277 n.39

chauvinism: gender 73–4, 98, 282 n.100

national 8, 88, 91, 254, 256–60, 263–5

Chave, Anna 300 nn.118, 119, 308 n.105

Chelsea Sculpture Show (1954) 129–31

Chicago, Judy 249

Pasadena Lifesavers 272 n.5

Rainbow Pickets 13, 14

and sexism 282–3 n.100, 308 n.104

Chicago Museum of Contemporary Art 104

Chryssa 174, 249

cinema 145, 147–8, 161

Clark, T. J. 8, 25, 271 n.12

Clarke, David 238

“The Classic Spirit in Twentieth Century Art” 87, 286 n.58

classicism: and minimalism 87, 109, 286 n.58

see also compositionality

Claura, Michel 256, 314 n.54

Clay, Jean 298 n.74

Coates, Robert 22

Cockcroft, Eva 313 n.50

collage: and Flavin 97

and Rauschenberg 97, 139

color: and “Black, White, and Gray” exhibition 77–8

and Caro 233, 236–7

color field abstraction 47, 84, 109, 111, 155, 215, 253, 279 n.22

and “8 Young Artists” exhibition 109

and Flavin 92, 95, 99, 104

and Judd 56–7, 61, 90, 116, 126, 159–60

and LeWitt 13, 200–02

and Morris 13, 70, 116, 155, 159–60, 163–6, 200

and Newman 73, 140, 155

and painting 109

and “Primary Structures” exhibition 13, 20, 22, 24

and Reinhardt 73

and Rothko 47, 84, 109, 111, 155

and Stella 122–3, 125, 230

and Truitt 5, 67, 70, 73, 222–3, 224–6

Colpitt, Frances 3, 140, 271 n.1a, 283 n.2

commodification 214, 219–20, 250–51

of minimalism 8, 25

of New York School 46, 276 n.11, 278 n.12

of pop art 33

compositionality (relational, or part by part composition) 47, 81

and Andre 109

and Bannard 217–18, 222

and Caro 233–4

in European art 87–90, 254, 257–8, 262, 264

and Flavin 92–3

and Fried 230

and Judd 90

and Reinhardt 73

and Stella 92, 125, 230, 254

and Truitt 73, 74

and Vasarely 289 n.134

see also anti-compositionality

conceptualism 16, 81, 82, 84, 178–9, 230

and Andre 132–4, 190, 208

of LeWitt 5, 8, 108, 204, 206–8

and Novelty art 216

Concrete Art 88, 257–8, 262

Cone, Jane Harrison 48, 312 n.3

Connor, Bruce 294 n.86

constructivism 89, 111–12, 124, 156, 213, 219, 254, 262, 284 n.30

and Andre 132, 290 n.144

and Morris 230

consumerism 25, 184–6, 215, 264

Cool Art 3, 5, 30, 47, 72, 81, 84, 106, 144, 247

and Warhol 77, 148, 218

Cooper, Harry 311 n.186

Cooper, Paula 272 n.17

Cooper, Rhonda 286 n.71

Coplans, John 279 n.23, 280 n.33, 281 nn.53, 57, 293 n.74

“Serial Imagery” exhibition 183

Corcoran Gallery, Washington 163, 239, 292 n.30

Crampton, Rollin 212, 213

Crane, Diana 273–4 n.45, 275 n.1, 276 n.6

Crimp, Douglas 242, 298 n.74

Croce, Benedetto 84, 306 n.43

Crow, Thomas 8, 271 n.14, 273 n.40, 274 nn.51, 53, 275 n.70, 301 n.123, 306 n.59

cubism: and “checks and balances” 72

and Judd 139, 159, 167

and opticality 111, 122

Cummings, Paul 272 n.11, 277 n.37, 278 nn.2, 3, 280 n.28

Cummings, Robert 35

Cunningham, Merce 145, 148–9, 296 n.144

Cutler, Carol 256, 314 n.53

dada 124, 145

and Flavin 97, 98, 102, 106

and Judd 60, 86, 89, 141

and modernism 143, 149, 212–15

and Morris 53, 54, 85–6, 155

and the Specific Object 139–40

Dahl-Wolfe, Louise 273 n.44

Damisch, Hubert 271 n.6, 283 n.12

dance, and sculpture 8, 145–6, 161, 249, 271 n.8

Daphnis, Nassos 66–7

Darboven, Hannah 179, 182, 229

Davis, Ronald 48, 121

De Duve, Thierry 86, 223, 284 n.36, 286 n.71, 290 n.143, 304–5 n.5, 305 n.27

De Kooning, Willem 33, 47, 66, 88, 135, 220

Women 179

see also Greenberg, Clement

De Maria, Walter 45, 222, 249

Cage 20, 21, 273 nn.22, 23

deadpan art 47, 106–8, 223

Dean, Anne see Truitt, Anne

deduction: and Fried 55–6, 124, 167, 230, 280–81 n.44

and seriality 170–71

and Stella 126, 170–71, 182, 230

DeLap, Tony 249, 274 n.50, 272 n.9, 294 n.86

Delaunay, Robert, Discs 171

Derrida, Jacques 240, 281 n.50

design: and “Good Design” 210, 216–17, 221, 223, 226

and minimalism 8, 22, 24, 28–30, 78, 188, 218, 228, 232

Develing, Enno 247, 262–3, 269

Dewey, John 277 n.23

Di Suvero, Mark 13, 54, 72, 147, 192, 217–18, 222, 232

and Green Gallery 45

Hankchampion 134, 136

and Judd 134–5, 172

and Park Place style 20, 145, 272 n.17

and “Primary Structures” 83–4, 172

studio 34

Diller, Burgoyne 87

Dine, Jim 48, 135, 249, 278 n.9

commodification 46, 278 n.12

and Happenings 34

and lighting 48

EXHIBITIONS: “Black, White, and Gray” 283 n.9

“New Forms – New Media” 97

“Distillation” (1966) 253

Doyle, Tom 99, 195, 202, 249

Over Owl’s Creek 16, 23–4

dress, “Primary Structures” frontis. 24, 25–8, 30, 153, 188, 215, 221

Drouin, Réné 307 n.95

Duchamp, Marcel 34, 97, 212

and anti-formalism 4, 81

and Flavin 106

and Judd 139, 140, 141

and Morris 4, 52–3, 86, 99, 113

and specificity 134

see also readymades

WORKS: Bicycle Wheel 52

Bottlerack 139, 145

Etant donnés 205

Fountain 97, 106

Precision Optics 205

Duparc, Christiane 257–8, 259, 262

Dwan Gallery 196–8, 199, 200–08

and LeWitt 29, 154, 200–08

and Morris 162–3, 164;

“10” 202, 262, 303 n.187

Dwan, Virginia 29, 33–4, 272 n.20, 303 n.177, 303 n.187, 305 n.37

Eakins, Thomas 179

Edwards, Jonathan 235–6, 238, 310 n.178

Eigen, Edward 217

“8 Young Artists” (1964) 42, 109–12, 119, 253, 254

“Eleven Artists” (1964)

and Flavin 34, 37, 106–8, 109, 119

and Judd 34, 106–8

and LeWitt 34, 37, 106–8

and Poons 106–8

and Ryman 34, 106–8, 289 n.130

and Stella 34, 106

Eliot, T. S. 216–17, 235

Emmerich, André 63, 73–4

Epstein, Jacob 35

Evans, Jan 145

“Everyman’s Infinite Art” (1966) 82–4, 83, 172, 178–9, 190

expressionism, abstract 3, 6, 18, 25, 39, 47, 200, 254

and abstract imagism 66

and Fried 239, 291 n.25, 311 n.189

and galleries 33, 34

gestural 37, 46, 84, 135, 170

and Greenberg 111, 211–13, 217–21, 226

and Judd 61, 88, 172

and the media 28

and minimalism 81, 109, 226

and Schapiro 218–20

and Truitt 72, 74

see also anti-expressionism

factory production 3, 8, 22, 262

and Andre 112, 184, 186, 293 n.53

and Flavin 184

and Greenberg 213, 216

and Judd 7, 57–60, 72, 81, 83–4, 143, 159–60, 171–2, 177, 178, 184, 186, 250, 293 n.53

and Morris 267

and Truitt 5, 224

Farber, David 271 n.11

fashion, and minimalism 24–30, 78, 153, 188, 215–16, 221, 247

Feeley, Paul 274 n.50, 291 n.4, 313 n.35

Feigen, Richard 30, 276 n.n

feminism, and critique of minimalism 8, 9, 251

Fer, Briony 200 n.108, 308 n.106

Ferber, Herbert 24

Fibonacci, Leonardo 172, 251

Finch College, “Art in Process” exhibition 7, 154, 172–5, 173, 179–83

Finch, Julie 25, 27, 29, 301 n.127

Fischbach Gallery 33, 163, 289 n.123

flatness, as defining painting 111, 212, 231, 236

Flavin, Dan 33, 249

and ABC art 145, 148–9

and Cool Art 47, 77

critiques of 99, 106

early life and education 35–7

and Judd 34–5, 87, 98–9, 104–05, 116, 139, 248–9

and LeWitt 37, 202, 206–08

and light 8, 92–3, 95, 98–106, 125, 143, 144, 171, 182, 186, 205, 270

and literalism 8

and minimalism 80–81, 106, 142, 192, 214–15, 248–9, 250, 270

and painting 4, 92, 99, 100–02, 108, 171, 236

radio interview 87, 90–93, 98, 100, 171

reliefs 95, 97, 108, 236

and specificity 139

and Stella 4, 87, 92–4, 116, 123–4

writing 6, 249

see also anti-compositionality; color; dada; seriality

EXHIBITIONS: “Art in Process” 174

“Art in Series” 179

“Black, White, and Gray” 77, 283 n.9

“fluorescent light” 99–106, 100, 101, 113, 166, 305 n.37

Judson Gallery 37; “Minimal Art” 262, 265

“New Forms – New Media” 97–9

overseas 313 n.49; “some light” 94 95 see also “Eleven Artists”

exhibition; Green Gallery; “New Work: Part 1”; “Primary Structures”

WORKS: Africa (to seventy-two negroes) 97

the alternate diagonals 277 n.33, 287 n.81, 288 n.109, 301 n.133

an artificial barrier 265, 266

Apollinaire Wounded 96, 97, 288 nn.89, 95

Barbara Roses 95, 97–8, 98, 287 n.85

the continuous icon (proposed) 104

corner monument 4 13, 15, 288 n.92

daylight and cool white 99, 277 n.33, 287 n.81, 303 n.187

diagonal of May 25, 1963 2, 77, 99, 103, 105, 105, 175, 287nn.78, 81

East New York Shrine 95–7, 96, 98

gold, pink and red, red 102

Homages to Vladimir Tatlin series 290 n.144

icon 1 (the heart) 95

icon II (the mystery) 95

icon III 94, 95

icon IV (the pure land) 48, 97, 99, 287 n.82

icon V (Coran’s Broadway Flesh) 48, 48, 99, 287 n.82, 289 n.129

icon VI (Ireland dying) 95, 304 n.198

icon VII (via crucis) 95

icon VIII (Blind Lemon Jefferson) 94, 95, 287 n.84, 304 n.198

icon series 37, 95–7, 99, 100–02, 204, 208

IN MEMORIAM ALBERT URBAN 37

mini-white 97–8, 98, 287 n.85

mira mira 97, 288 n.95

the nominal three 102–4, 102, 103, 144, 175, 176, 178, 179, 206, 288 n.114, 299 n.102

one (to William of Ockham) 103, 175, 286 n.114

pink out of a corner 102, 113

the prayer drawing 287 n.82

a primary picture 101, 102

red and green alternatives 288 n.109

shrines series 95, 98, 102

Thomas Aquinas Doctor of Canon Law 288 n.95

to the young woman and men . . . 288 n.92

untitled 1964 101;

untitled (tenements in the rain) 37, 37

Vincent at Auvers 97

Fleming, Dean 121, 249, 272 n.17

Fleminger, Irwin 106

Fluxus 51, 86, 99, 132, 153, 182, 283 n.9

Follett, Jean 283 n.9

Forakis, Peter: JFK 13

and Park Place style 20, 30, 272 n.r7

formalism: and Andre 233, 309 n.144

and Flavin 98, 102, 233

and Greenberg 171, 213

and Judd 4, 53, 90, 102, 139–41, 159, 186, 233, 247

and Morris 113, 155

Russian 9, 187

see also anti-formalism

Forti, Simone 34, 39

Foster, Hal 8, 86, 280 n.40

“The Crux of Minimalism” 295 n.112, 300–01 n.122, 301 n.136, 304 n.202

and Duchamp 284 n.36

and Fried 242

and Greenberg 305 n.14, 309 n.125

and Judd 140, 294 n.103

and pop art 274 n.53

and Russian constructivism 290 n.145

Frampton, Hollis 34, 40–42, 127, 195, 289 n.137, 302 n.160

Frank, Peter 272 n.5

Frankenthaler, Helen 63, 298 n.7

Frazier, Paul 174, 249, 272 n.9

Pink Split 17

Freiman, Lisa 293 n.80

French & Co. 33, 67, 290 n.138

Fried, Michael 6, 145, 286 n.58

and Andre 127

and anti-compositionality 170–71, 230

and Caro 229, 241, 307 n.82

and Greenberg 230–34, 241–2

and Judd 7, 50, 55, 61, 86, 123, 138, 139–41, 229–30

and literalism 7, 55–6, 123, 157, 229–30

and Morris 153, 166, 229–30, 239, 268

and Newman 89

and Pollock 89, 127, 234

and Poons 48–50, 279 n.22

and Stella 41, 121, 122–3, 143, 171, 229, 230, 282 n.98

and theatricality 232–3, 239–43

and “Three American Painters” 119, 121

and Truitt 73, 282 n.98

see also anti-compositionality; modernism; opticality

WRITINGS: “Art and Objecthood” 7, 140, 166, 229–43, 249, 308 n.111

“Shape as Form” 157, 230, 308 n.117

Three American Painters 61, 122–4, 143, 155, 170, 230, 234, 241–2

Friedman, Martin 160, 163, 297nn.37, 54

functionalism, and Bauhaus 219, 307 n.68

furniture, and minimalist sculpture 8, 219, 220, 221, 260–61, 270

futurism 60

Galanos, James 78, 79

Galbraith, J. K. 275 n.61

gallery design 8, 18, 34, 248

Garner, Philippe 273 n.40

Geldzahler, Henry 28, 119, 250

gender, and minimalism 8, 226–8

Gerowitz, Judy see Chicago, Judy

Gestalt psychology 202, 233, 240

and Morris 153, 158–9, 160–66, 197, 200, 205, 230, 267–9

Giampietro, Alexander 39, 192

Glaser, Bruce 54, 231–2, 278 n.10, 285 n.39

radio interview 87–93, 98, 100, 106–8, 121–2, 124–5, 171, 208, 249, 257, 285 n.55

Glaser, Samuel 272 n.3

Glaser, Shirley 299 n.94

Glass, Philip 272 n.17, 312 n.20

Glueck, Grace 13, 248, 250

Goldin, Amy 278nn.2, 7, 313 n.39

Gonzalez-Torres, Felix 185

“Good Design” 210, 216–17, 221, 223, 226, 228

Goossen, E. C. 42, 273 n.32, 278 n.44

and Andre 111–12, 190, 254, 289 n.137

and “Art of the Real” 112, 253–5, 257–60, 264, 290 n.145

and “8 Young Artists” 109–11

and literalism 111

and Morris 39

and Newman 290 n.138

Gorski, Daniel, Fourth Down 21

Gottlieb, Adolph 66, 73

grace, and presentness 236, 238, 240–42

Graham, Dan 5, 29, 133, 153, 249, 273 n.40, 275 n.57, 300 n.115

Homes for America 184, 185, 187

Graham, John 284 n.30

Gray, Camilla 290 n.144

Gray, David, LA/2 21, 273 n.24

Green Gallery, New York 4, 33–5, 45–50, 163, 273 n.21

and Andre 41

and Flavin 35, 45, 99–106, 100, 101, 106, 113

and Judd 29, 35, 45–6, 52, 54, 56–61, 74, 86, 108, 113, 144, 229, 279 n.23, 305 n.37

and Morris 39, 45–6, 52, 54, 54, 113–16, 144, 153, 157, 162–3, 289 n.136, 305 n.37

and “Primary Structures” 20–21, 29

Greenberg, Clement 29, 48, 145

and abstract imagism 66

and Caro 6, 121, 211, 215, 222, 226

and critique of minimalism 211–21

and De Kooning 84, 214, 285 n.44

Gauss Lectures 124, 291–2 n.28

and Judd 74, 84, 86, 134, 140–41, 206, 214–15, 217, 221, 222, 232, 243

and monochrome painting 212–13, 226, 230

and Morris 153, 155, 215, 222, 227, 232, 243

and Newman 66–7, 84, 171, 211, 214, 227, 306 n.43

and Noland 54, 55, 111, 226

and Pollock 89, 211–15, 227

and Poons 54, 279 n.22

and pop art 211–13, 304 n.2

and “Post-Painterly Abstraction” exhibition 213, 221, 279 n.22, 291 n.13

and “Primary Structures” 211–13, 216

and sculpture 155–6

and Stella 111, 213, 290 n.143

and “triumph of minimalism” 247

and Truitt 8, 63, 73, 74, 206, 222–8, 232, 307–8 n.98, 308 n.102; see also “Good Design”; historicism; modernism; Novelty art; opticality; taste

WRITING 7, 33, 124, 276 n.3

“After Abstract Expressionism?” 6, 84, 212, 214, 231

“After Pop Art” 217, 306 n.54

“American-Type Painting” 66

“Avant-garde Attitudes” 311 n.189

“Avant-Garde and Kitsch” 211–12, 214, 216–17, 219, 306 n.51

“Changer: Anne Truitt” 226

“Collage” 214

“Modernist Painting” 80–81, 155, 213–14

“The New Sculpture” 156, 214, 223–4, 234

“The Plight of our Culture” 216–17

“Recentness of Sculpture” 63, 211–21, 222, 226, 229, 231, 249, 311 n.189

“Towards a Newer Laocoon” 141, 223

“Where is the Avant-Garde?” 217

Gregor, Harold 82–3, 172, 178, 192, 218, 232

Grooms, Red 34, 46

Grossberg, Jacob 106, 132, 163, 166, 289 n.121, 293 n.60

Grosvenor, Robert 5

and Park Place style 21, 30, 272 n.17

Transoxiana 18, 18, 20, 30

EXHIBITIONS: “Minimal Art” 262, 265

“Primary Structures” 24, 30

Guerlac, Suzanne 300 n.120

Guggenheim International Exhibition 1967 297 n.37

Guggenheim Museum 63–7, 80, 119, 126, 170, 199

Guggenheim, Peggy 33, 274 n.51

Guilbaut, Serge 221, 275 n.57, 287 n.74, 306 nn-63, 64, 307 n.75, 313 n.40

Guston, Philip 66

Habermas, Jürgen 311 n.188

Hall, David, Izzard 21, 273 n.24

Halprin, Anna 49

Hansa Gallery 34, 45

Happenings 34, 46, 89, 99, 278 n.12

Hard-Edged abstraction 35, 46, 87, 119, 145, 277 n.24

Hare, David 24

Harper’s Bazaar 24–5, 26, 27, 28–9, 188

Harper’s Magazine 216

Harris, Paul 294 n.86

Harrison, Charles 141

Hartigan, Grace 63

Harvard, Fogg Museum 119, 121

Haskell, Barbara 286 n.71

Haskell, Barbara and Hanhardt, John 276 nn.10, 14

Hatoum, Mona 185

Hazlett, Sally 212

Heizer, Michael 202

Held, Al 20, 35, 80

Held, Jutta 263–4, 267

Heller, Ben 80–81, 142

Hess, Thomas 34, 35, 282 n.75, 289 n.136, 299 n.98

Hesse, Eva 5, 89, 153, 208, 227–8, 249, 268, 308 nn.105, 109

Addendum 179, 180, 182

Hinman, Charles 249

and “Art in Process” exhibition 174

and “Shape and Structure” exhibition 119, 121, 126, 290 n.2

historicism: and minimalism 253

and modernism 139–41, 150, 154–5

Hoffmann, Hans 40, 63, 278 n.1

Hopps, Walter 281 n.65, 293 n.69, 295 n.116

Hudson River Museum 42, 108–12

Huebler, Douglas, table 16

humanism 218, 260, 264

and anti-humanism 72

Hume, David 89, 277 n.23

Humphrey, Ralph 170, 313 n.35

Hunter, Sam 22, 272 n.13

Huot, Robert 109, 145, 313 n.35

Huyssen, Andreas 274 n.53, 301 n.123

idealism, minimalism as critique of 81

illusionism: and Braque 279 n.22

and Flavin 99, 105

and Judd 7, 35, 55–7, 61, 88, 92, 125–6, 134, 138, 156–7, 230

and Louis in, 254

and Morris 157–8

and Noland 111, 167

and Olitski 111

and Stella 90, 121–2, 125–6, 129, 135, 156

Imagism, Abstract 66–8, 80

Indiana, Robert 278 n.9, 283 n.9

and “Black, White, and Gray” exhibition 77–8, 80

WORKS: Die 78

Love 77–8

Insley, Will 205

and “Art in Process” exhibition 174

and Park Place style 272 n.17

and “Shape and Structure” exhibition 119, 121, 126, 290–91 n.2, 291 n.3

“Systemic Painting” exhibition 170

installation art: and Andre 166, 196, 199

and Bochner 175–9, 176–7

and Flavin 100–05, 101

and found objects 132

and Judd 298 n.63

and Morris 113, 162–3, 166

instantaneity 239–40, 241–2

intention, authorial 3, 219–21, 239

and Bochner 179–82

and Judd 86

and Morris 116

and Stella 184–5

and Truitt 74

and Wollheim 142–3

interest, and Judd 139–41

intuition, and modernism 72, 216, 265

Irwin, Robert 274 n.50, 293 n.69

Jackson, Martha 97

Jackson, Ward, and “Eleven Artists” exhibition 106–8

James, William 140, 277 n.23

Jameson, Fredric 25

Janis, Sidney 45, 109, 278 n.8

Jay, Martin 301 n.135

Jensen, Alfred 167

Interval in Six Scales 179

Jewish Museum 73

“Black and White” 77

“Towards a New Abstraction” 80

see also “Primary Structures” exhibition

Johanson, Patricia 109, 249, 313 n.35

John Daniels Gallery 37, 200, 301 n.133

Johns, Jasper 4, 48, 90, 287 n.79, 291 n.25

and “10th Street” 33–4

and neo-dada 53, 56, 124, 141

and pop 212

and specificity 134, 139

exhibitions: “The Art of Assemblage” 97

“Art of the Real” 253, 313 n.35

“Black, White, and Gray” 78, 283 n.9

works: Alphabet Paintings 160, 304 n.197

Canvas 283 n.17

Flags 124, 167

Newspaper 283 n.17

Number Paintings 160, 179, 299 n.102, 304 n.197

Target with Plaster Casts 53

Targets 124, 139, 167, 171

White Numbers 179

Johnson, Philip 250, 305 n.37

Johnston, Jill 289 n.128

Jones, Amelia 284 n.36

Jones, Caroline 271 n.n, 274–5 n.56, 277 n.40, 281 n.56, 285 n.55, 300 n.118

Joseph, Brandon 296 n.2, 297 n.48

Joyce, James 37

Judd, Donald 33, 249

and ABC Art 20, 145, 148–50

and Andre 41–2, 60, 87, 286 n.58

as art critic 34, 35, 52–3, 56, 73–4, 90, 134, 141, 142, 282 nn.95, 96, 283 n.2:

and “Black, White, and Gray” exhibition 7, 77

and consumer culture 186, 188

and Cool Art 218

critiques of 60–61, 83–4, 250: see also Fried, Michael; Greenberg, Clement; Lippard, Lucy

and design 25, 27, 28–9

early life and education 35

and Flavin 34–5, 87, 98–9, 104–5, 116, 248–9

and LeWitt 206–8

and Lichtenstein 186

and minimalism 80–81, 106, 154, 187–8, 214–15, 248–9, 250, 270

and Morris 142, 144, 232, 261, 267

and “Black, White, and Gray” exhibition 85–6,

and Green Gallery “New Work” shows 52–4,

and “Notes on Sculpture” 153–62,

and plywood show 113–16, 157, 162,

and “Specific Objects” 4, 7, 88, 138–9, 166, 228

and painting 54–7, 90, 92, 102, 108, 123, 171, 236, 247

abandonment of 56–7, 61,

line painting 35

and pop 46–7

radio interview 87–92, 208

and Reinhardt 73, 282 n.96

reliefs 56–7, 102, 108, 139, 156, 158, 172, 212, 236

and Stella 54–5, 87, 91–2, 116, 119, 122–7, 156, 169, 286 n.71, 287 n.76

and symmetry 88

and three-dimensional abstraction 3, 4

and US chauvinism 8, 254, 257, 264–5

and Warhol 29, 275 n.71

see also anti-compositionality; color; dada; factory production; formalism; Green Gallery; interest; literalism; seriality; surrealism; Truitt, Anne; wholeness

EXHIBITIONS: “Art in Process” 174

“Art in Series” 179

Green Gallery one-man 56–61, 58, 59, 74, 108, 113, 166, 229

“Minimal Art” 262, 264–5

overseas 313 n.49

Panoras Gallery 35, 56; “Seven Sculptors” 134

Whitney Museum 8, 246, 247–9, 250; see also Castelli Gallery; “Eleven Artists”; “New Work: Part I”; “Primary Structures”; “Shape and Structure”

works: furniture 219, 220, 221

Progressions 88, 171–2, 174, 174, 177, 178, 182, 206–8, 247

Stacks 167, 171–2

Untitled 1956 32, 36

Untitled 1960–61 36

Untitled 1962a 44, 47–8

Untitled 1962b 56, 58

Untitled 1964 137

Untitled 1965 169;

Untitled 1966 18, 19

Untitled 1968 246, 247

Untitled (“Bleachers”) 52, 52, 55, 56–7, 167, 222, 247

Untitled (“Kleenex Box”) 50

Untitled (“Letter Box”) 47

Untitled (“Record Cabinet”) 56, 57, 59, 167, 247

Untitled (“Swimming Pool”) 120, 195–6, 247

WRITINGS 6–7, 28, 48, 290 n.144, 290 n.151

“Local History” 134, 139

“Symmetry” 286 n.60; see also “Specific Objects”

Judson Dance Theater 4, 34, 271 n.8

Judson Gallery 34, 37

Kaltenbach, Steven 268

Kandinsky, Wassily 109, 126, 248–9, 289 n.135

Kaprow, Allan 28, 132, 182, 235

and Happenings 34, 46, 89

Karp, Ivan 34, 278 nn.2, 3, 301 n.123

Katz, Alex 33

Katz, Karl 272 n.13

Kauffman, W. Edgar Jr. 217

Kaymar Gallery 34, 37, 95, 97–9, 106–8, 119

Kelly, Ellsworth 56, 249, 254, 258

and abstract imagism 66

see also anti-compositionality

EXHIBITIONS: “Art in Series” 179

“Black, White, and Gray” 80, 283 n.9

Green Gallery 51, 52, 54

“New Work: Part 1” 47

“Primary Structures” 22

“Systemic Painting” 170

“The Responsive Eye” 274 n.50

and fashion 25, 26, 28, 29, 188

and Hard-Edged abstraction 35, 46

reliefs 48, 68

and seriality 7, 182

studio 34

WORKS: Blue Disc 13, 15

Colors for a Large Wall 299 n.97

Gaza 280 n.42

Red Yellow Blue White and Black 179

Window, Museum of Modern Art, Paris 68–70, 252, 254

Kienholz, Ed 48, 249, 294 n.86

Kimmelman, Michael 313–14 n.50

King, Phillip 273 n.35, 294 n.86

Through 21, 21

Kipp, Lyman 145, 174, 272 n.8, 313 n.35

Kirschenbaum, Bernard 179

kitsch 211–12, 214, 216–17, 232

Klein, Yves 88, 139, 212, 230, 258, 278 n.9, 286 n.63

Kline, Franz 33, 37, 47, 84, 88, 135

Knoll, Florence, Credenza 217, 218

Kosuth, Joseph 141, 143, 178, 208, 294 n.109

Proto-Investigations 149

Kozloff, Max 294 n.109

Kramer, Hilton 35, 81, 218, 232, 273 n.21

and Judd 60–61, 172

and “Primary Structures” 13, 22

Kraushar, Leon 25, 276 n.5

Krauss, Rosalind E.; and Greenberg 48, 216, 279 n.21, 282–3 n.100, 294 n.109

and horizontality 192

and Judd 138, 159, 294 n.83

and LeWitt 299–300 n.105, 300 n.114, 304 n.199

and minimalism 206, 272 n.5, 286 n.70

and Morris 166, 280 nn.27, 37, 40, 293 n.58

and op art 122

and Picasso 271 n.13, 288 n.93

and Pollock 89, 122, 292 n.29

and Poons 279 n.22

and site 239 nn.57, 58

and Stella 125

Kubler, George 154–5

Kunitz, Stanley 215

Kuriloff, Aaron 289 n.123, 294 n.86

Kusama, Yayoi 45, 60, 163, 249

Accumulation II 135, 137

and anti-composition 56

and specificity 135, 138

EXHIBITIONS: Green Gallery 54

“New Work: Part 1” 47, 50

Kuspit, Donald 300 n.114

Kuwayama, Tadaaki 51, 52, 170, 274 n.50

labor, artistic 3, 81, 90, 147, 178

and Andre 192, 305 n.37

and Flavin 305 n.37

and Judd 83–4, 172

and Morris 53, 85, 143

and Truitt 223

Laing, Gerald, Indenty 16, 16, 273 n.35

land art 132, 275 n.77

Langser, Julius 277 n.24

“L’Art du Réel: USA 1948–68” 244, 256–7, 256, 257

Lassaw, Ibram 24

Leavin, Margo 215

Lee, David 179

Lee, Pamela 271 n.11

Leen, Frederick 288 n.107

Leen, Nina 28

Legg, Alicia 256, 257

Leider, Philip 254–5, 291 n.11

Leja, Michael 275 n.57, 306 n.63

Leveque, Jean-Jacques 314 n.55

Levin, Bernard 192, 302 n.158

Levin, Kim 3, 121, 271 n.3, 291 n.10

Levine, Les 249

LeWitt, Sol 3–4, 33, 153, 249

and Andre 202, 208, 303 n.186

and anti-composition 56

and drawing 208, 228

early life and education 37

and Flavin 37, 202, 206–8

and Judd 206–8

and land art 275 n.77

and minimalism 80, 214–15, 250

and Muybridge 204–06

and painting 236

and process art 5

studio 34, 37

see also conceptualism; seriality

EXHIBITIONS: “Art in Process” 174

“Art of the Real” 313 n.35

“Art in Series” 179

Daniels Gallery 200, 201

Dwan Gallery 200–08

“Minimal Art” 262, 265–6

overseas 254, 269

see also “Eleven Artists”; “Primary Structures”

WORKS: A5 303 n.187

ABCD 2 266

Cube with Random Holes 107, 108, 304 n.200

Double Floor Structure 200

Lines Not Long, Not Straight, Not Touching 207, 208

Muybridge I 204–5, 205, 206

Muybridge II 204–5

Red Square, White Letters 304 n.197

Run I–IV 37, 38, 204, 206

Serial Project # 1 179, 200, 202–4, 203, 206–8, 266

Standing Open Structure (“Telephone Booth”) 174–5, 175, 200, 204

Table with Three Cubes 107, 108

“Telephone Booth” 200, 204

Untitled 20;

Variations of Incomplete Open Cubes 299 n.93

Wall Drawing No. 1 207, 208

Wall Piece (hockey stick) 200, 201;

Wall Structure, Black 37, 304 n.200

Wall Structure in Nine Parts 304 n.200

Wall Structure, White 37, 38, 304 n.200

WRITING 6, 26

“Paragraphs on Conceptual Art” 206, 308 n.110

Liberman, Alexander 274 n.50, 293 n.69, 313 n.35

Circle on Gray 283 n.17

and “Black, White, and Gray” exhibition 283 n.9

Lichtenstein, Roy 5, 25, 46–7, 80, 249

and anti-composition 56

and Cool Art 77

on pop art 285 n.38

and seriality 167

Life 13, 18, 21, 28

Lindner, Richard 249

Lipman, Jean and Howard 144, 305 n.37

Lippard, Lucy 6, 34, 126, 249, 262, 266, 277 n.26

and Andre 132–3, 189–90, 196

and Duchamp 295 n.116

and Flavin 37, 87, 99, 106, 144

and Judd 87, 134, 266, 285 n.55

and LeWitt 8, 22, 37, 202, 303 n.191

and “Minimal Art” 266, 269, 315 n.90

and Morris 113, 126, 162, 166

and Poons 280 n.43

and “Primary Structures” 22, 154

and Reinhardt 73, 282 nn.95, 96

and scale 163

and sexism 282 n.100

and “Shape and Structure” exhibition 121

and Stella 87, 119, 125, 230

and Truitt 73

Lissitzky, El 87

List, Vera 272 nn.3, 20

literalism: and Andre 126–7, 144, 158, 205, 254

and “The Art of the Real” 253–4, 259–60

and Flavin 37, 105

and Fried 7, 55–6, 123, 157, 229–33

and Goossen 111–12, 253, 259–60

and Greenberg 213, 224, 226, 231

and illusionism 121, 251

and Judd 55–6, 63, 74, 108, 119, 123, 125–6, 138–9, 144, 149, 153, 159, 205, 224, 230

and LeWitt 153, 202, 206–8, 240, 266

minimalism as 7–8, 22, 56, 73, 111, 144, 148, 178, 229, 247, 251, 254

and Morris 63, 126, 153, 156–7, 166, 197, 230

and seriality 182, 185

social meaning 187

and Stella 7, 78, 92, 108, 121–5, 149, 157, 205, 230, 236, 254, 286 n.71

and Truitt 63, 72, 222, 226

Livingston, Jane 282 n.91

Lohse, Richard 257–8

London School 22–3

Los Angeles School 13

Louis, Morris 98, 109, 139, 274 n.50, 279 n.22, 298 n.75

and abstract imagism 66, 281 n.74

and Greenberg 139, 226, 229

and minimalism 80–81, 84, 91, 226

and opticality 63, 111, 122–3, 155, 159, 211, 254

Lowell, Robert 238, 310 n.177

Lucie-Smith, Edward 259

Lukin, Sven 272 n.8, 291 n.4, 294 n.86

Lynes, Russell 216, 255

McConathy, Dale 29, 275 n.66

McCracken, John: exhibitions 13, 22, 261, 313 n.35

Manchu 21, 273 n.24

Northumberland 16, 17, 20

Macdonald, Dwight 216–17, 306 n.51

McDowell, Barry 294 n.86

Maciunas, George 153

Mackin, Sheldon 34

McShine, Kynaston 275 n.58

and “Primary Structures” exhibition 13, 18, 22–4, 30, 272 nn.4, 18

Madoff, Steven 290 n.1

Magar, Anthony 99, 272 n.17

Malevich, K. S. 80, 87, 145, 149

Black Square 145

Mallarmé, Stéphane 142

Malraux, André 244, 256, 256, 314 n.52

Mandel, Ernest 25

Manet, Edouard, and modernism 80, 84, 91, 124, 139, 213, 215

Mangold, Robert 34, 37, 126, 170, 249

Mangold, Sylvia Plimack 34

Manuchin, Leon 276 n.5

Marcuse, Herbert 250–51, 264

Marden, Brice 126, 249

Marfa, Texas, and Judd 74, 221

Marisol 99, 278 n.9

Markovits, Andrei S. 315 nn.85, 86

Martha Jackson Gallery 33, 37, 46

Martin, Agnes 34, 72, 228, 249, 274 n.50, 303 n.187, 308 n.105

exhibitions 77, 283 n.9, 313 n.35

A Gray Stone 283 n.17

Leaves 303 n.187

Marx, Karl 99, 284 n.37

materialism 156, 186

and Andre 111–12, 126–7

and critique of minimalism 8, 251

and Judd 186

and Morris 269–70

and Stella 90, 111–12, 124, 126, 153

and Truitt 40

materials: and Andre 129–33, 143

and Judd 35, 57–60, 90, 135–8, 143

and Morris 116, 266–7

Matkovic, Tina 16, 293 n.69

media: and fashion 28–9, 153

and “Primary Structures” 33

Melcher, Támara, and Park Place style 121, 272 n.17

Mellow, James R. 183, 248, 250, 254, 299 n.97

Melville, Robert 261, 314 n.63

Melville, Stephen 235, 309 n.128, 310 n.173

Merleau-Ponty, Maurice 147, 161–2, 234, 240, 295 n.132, 297 n.39, 310 n.162

Messer, Thomas 256, 257

metonymy, and Truitt 70, 72

Meyer, Mary Pinchot 63, 66, 72, 282 n.87, 299 n.96

Meyer, Ursula 250–51, 262–3, 264, 267

Michelson, Annette 6, 147, 206, 296 n.133

and Morris 166, 239–40, 280 nn.27, 37, 290 n.154, 297 n.39

and presentness (critique of) 239–41, 242

Mieczkowski, Edwin 274 n.50

Milkowski, Anton 109, 313 n.35

Miller, Perry 235–6, 238, 310 n.177

Millonzi, Victor 174

“Minimal Art” (1968) 247, 262–7, 263, 269, 314–15 n.75

minimalism: as negation 85, 184–8, 277, 254

as conceptual see conceptualism

and consumer culture 184

as critical debate 6–9

as critique of idealism 81

critiques see criticism; feminism; Greenberg; materialism

European reactions to 8, 112, 215, 255–61, 262–7, 269

as field of difference 3–4, 6, 8, 206

and the “minimal” in art 119–26, 142–50, 154, 170–71, 260–61

and “minimal look” 25–8, 30, 58, 78, 202, 247

as a “movement: 3–4, 6, 248–50

and music 3, 116, 118, 235

as “rational” 251, 263–4, 267

reception of 3–4, 25, 34, 80, 247–51

as reductive see reduction

social readings of 8–9, 60, 186–7, 248, 262–3, 267–8

see also design; fashion; gender; labor; literalism; simplicity

Mitchell, Arnold 275 n.63

Mitchell, Joan 63

modernism: and Cavell 234–5, 236–9

and color 78, 111

and Flavin 102

and Fried 121, 123–4, 127, 143, 155, 230–43, 291 nn.24–6

and Goossen 111–12

Greenbergian 80–81, 91, 125, 134, 139–41, 143, 150, 170, 211–21, 229:

critique 230–31, 235–6,

and opticality 7, 63, 111–12, 124, 155–6, 166, 205–6, 211, 223–4

and Judd 86, 139–41

materialist 111–12, 124, 132–3

and minimalism 3, 24, 54–6, 85, 112, 205–6, 230

and Morris 155–6, 162

and systemic painting 170–71

Moffett, Kenworth 48

Mogenson, Paul 126, 179

Mondrian, Piet 87–9, 102, 257–8, 306 n.46

Place de la Concorde 286 n.58

monochrome painting 66–7, 70, 78

and Fried 230

and Greenberg 212–13, 22–6, 230

of Reinhardt 66–7, 142–4, 145, 212

of Stella 81, 122–4, 126, 143

monumentalism 18, 56, 113, 163, 258–9

Morellet, François 88, 274 n.50

Morellet, Jean 88

Morgan, Patrick and Maud 40, 290 n.144

Morris, Robert 33, 249

and ABC Art 20, 145, 149, 155

and Andre 119–21, 278 n.47, 291 n.6

and architecture 50–51, 70

and artistic labor 43, 85, 143

and Cage 53, 116, 153, 296 n.3

and Cool Art 77

critiques of 215: see also Fried, Michael; Greenberg, Clement; Lippard, Lucy; Michelson, Annette

early life and education 39–40, 161

and Johns 53, 160

and Judd see Judd, Donald; and Kubler 154–5

and land art 275 n.77

and minimalism 80, 85–6, 106, 142, 161–2, 166–7, 187–8, 214–15, 228, 231, 250, 267–8, 289 n.136

and painting 90

performances: Arizona 280 n.34, Site 280 n.34,

Waterman Switch 280 n.34

reliefs 53, 156–7, 268

and specificity 4, 139

and Stella 90, 113, 116, 286 n.72

studio 34

and three-dimensional abstraction 3

and Truitt 70, 74, 149, 285 n.50

see also anti-compositionality; dada; Gestalt psychology; Green Gallery; Greenberg, Clement; shape; temporality

EXHIBITIONS: “Art in Process” 174

“Art of the Real” 261, 313 n.35

“Black, White, and Gray” 7, 78, 85, 113, 153, 283 n.9, 290 n.147

Corcoran Gallery 239

Dwan Gallery 162–3, 164;

“Minimal Art” 262, 265–6

“Nine in a Warehouse” 268

overseas 313 n.49

plywood show 113–16, 132, 157, 157, 162, 215, 289 n.136, 305 n.37

see also “New Work: Part 1”; “Primary Structures”; “Shape and Structure”

WORKS: Box with the Sound of its Own Making 53, 53, 54, 116, 161–2, 267

Box for Standing 49, 51

Cardfile 267

Frame 283 n.17, 290,n.147

In the Realm of the Carceral series 51

Labyrinths series 51

Metered Bulb 116, 161, 267

Mirrored Cubes 182, 293 n.58

Passageway 50, 51, 163

Portals 51, 52, 70, 278 n.47, 283 n.17

Statement of Aesthetic Withdrawal 53, 54

Steles 50–51

Threadwaste 268, 269

Untitled 2

L Beams 18;

Untitled 1967 266;

Untitled (Battered Cubes) 163, 164;

Untitled (Cloud) 113, 115, 116, 163, 290 n.147

Untitled (Column) 39, 49, 50–51, 52, 54, 70, 78, 85, 116, 154, 163, 222, 280 n.32, 283 n.17, 290 n-147

Untitled (Corner Piece) 113, 115, 175

Untitled (Drawing for . . . 380 Pieces) 160

Untitled (Frame) 85

Untitled (Knots) 270

Untitled (Portal) 85

Untitled (Ring with Light) 163, 266;

Untitled (Rope Piece) 270

Untitled (Slab) 39, 54, 78, 79, 85, 113, 116, 163, 196, 261, 261, 283 n.17, 290 n147

Untitled (Stele) 49, 70

untitled “table” 113

Untitled Wall/Floor Slab 113, 119

Untitled (Wedges) 160

“Water Boiler” 113, 163

Wheels 52–3, 53, 116, 278 n.47

WRITING 6, 28, 51

“Anti Form” 89, 233, 251, 267–8, 269

“Blank Form” 153–4, 162

“Notes on Dance” 153

“Notes on Sculpture” 7, 88, 116, 138, 153–66, 197, 233, 240, 249

“Notes on Sculpture, Part IV” 267–9

Moskowitz, Robert 278 n.9, 283 n.9, 299 n.85

Motherwell, Robert 37, 63, 97, 277 n.30

Mullaly, Terence 260, 314 n.68

Müller, Grégoire 314 n.54

Murray, Robert, and “Shape and Structure” exhibition 119, 290–91 n.2, 291 n.8

Museum of Modern Art, New York (MOMA): “Art of the Real” exhibition 8, 112, 252, 253–61

“Dada and Surrealist Art” 253

and Flavin 37, 97, 108, 277 n.29

“Good Design” 210, 217

International Council 255–6

“The Responsive Eye” exhibition 25, 119, 121, 279 n.22

“Sixteen Americans” exhibition 41, 90, 91

and Truitt 63

Muybridge, Eadweard 5, 179, 204–5, 206

My Fair Lady (film) 80

Myers, Forrest (“Frosty”) 99, 249:

and Park Place style 20, 30, 272 n.17

Zigarat & W. & W.W.W. 13, 15

Myers, John Bernard 129, 291 n.3, 292 n.49

Naifeh, Steven W. 275 n.1, 276 n.11

Naudé, Alain 88

Nauman, Bruce 268

Navin, Richard 294 n.86

Nelson, George 217

neo-avant-garde 8, 112, 182, 186–7, 192, 206, 211, 214

and Greenberg 211, 214, 217

neo-dada 45, 56, 81, 124, 182

and Andre 189

and Cage 77

and Greenberg 217

and Judd 83

and Morris 53–4, 155, 162

and “New Work: Part 1” 50

and the Specific Object 139, 213

neo-surrealism 45, 135, 279–80 n.23

Nevelson, Louise 97, 278 n.9

“The New American Painting” (1958–59) 255

“New Forms – New Media” (1960) 97–9, 287–8 n.88

New Generation group 16, 22, 30

New Realism see pop “New Realists” (1962) 45

“New Work: Part 1” 46, 47–50, 119, 222

and Bannard 47–8, 50, 279 n.22

and Flavin 47–8, 63

and Judd 47–8, 50, 50, 63

and Morris 47–8, 50–51, 50, 63

and Poons 46–7, 279 n.22

New York, galleries 33–4, 275–6 n.1

New York School 5, 8–9, 23, 33, 47, 88, 212, 275 n.57

and abstract imagism 66

and anti-compositionality 218

and poetry 35, 277 n.26

New York Times, The 13, 25, 172, 248, 250

Newman, Annalee 293 n.69

Newman, Barnett 34, 47, 56, 134, 287 n.79

and Judd 74, 88–9, 90, 135, 140, 249, 282 n.96

and literalism 124

as “minimalist” 80–81, 84, 109, 140, 206

and monochrome painting 78, 213

and specificity 134, 139

and stripe painting 84, 124, 171

and symmetry 88, 286 n.62

and Truitt 66, 72–3, 74

and wholeness 4

see also color; Greenberg, Clement

EXHIBITIONS 290 n.138

“Black, White, and Gray” 77–8, 283 n.9

WORKS: Here I-III 291 n.8

Onement VI 67, 67, 72

Shining Forth 294 n.106

Stations of the Cross 298 n.75

Who’s Afraid of Red, Yellow and Blue? 102

Newsweek 13, 20, 28, 74

“Nine in a Warehouse” (1968) 268

Nochlin, Linda 308 n.107

Noland, Kenneth 5, 274 n.50

and abstract imagism 66, 281 n.74

and color abstraction 84, 111, 119, 155, 215, 279 n.22

exhibitions 170, 313 n.35

and Green Gallery 45, 50, 52, 54–5

and Judd 54, 74, 172

and minimalism 80–81

and Stella 88

and stripe paintings 124, 167

and Truitt 39–40, 63, 73, 74, 226

see also anti-compositionality; Greenberg, Clement; opticality

Norvell, Patricia 290 n.149, 291 nn.6, 7

Novelty Art 25, 215–16, 217, 221, 223–4, 221, 230, 232, 247

Novros, David 126, 170, 249, 272 n.17

Nyman, Michael 312 n.40

object, specific see “Specific Objects”; specificity

object, found; and Andre 132, 186–7, 189–92

and Duchamp 142–4, 145

and Flavin 97–9, 106

and Judd 60

objecthood 258–9

and Fried 7, 166, 231–3, 236, 239

O’Brian, John 307 n.75

O’Connor, John J. 30, 275 n.76

Odlin, Reno 292 n.40

O’Doherty, Brian 60, 86, 204, 272 n.12

and Cool Art 106–8

Oglesby, Carl 312 n.25

O’Hara, Frank 35, 141, 277 n.26

Ohlson, Douglas 109, 249, 313 n.35

O’Keeffe, Georgia: and “Art of the Real” exhibition 253

Lake George Window 252, 253, 254

Oldenburg, Claes 25, 47, 54, 60, 88, 163, 233, 249

and collage 97

commodification 46, 278 n.12

Happenings 34

and neo-surrealism 45, 135

and specificity 135, 138

WORKS: Bedroom Ensemble 45

City 34

Floor Burger 135, 136

Store 45

Olitski, Jules 6, 81, 84, 126, 236, 249, 279 n.22

and opticality 111, 121, 123, 159, 211, 226

Ono, Yoko 51

op art 7, 148, 213, 217

and illusionism 121–2, 125, 205

and “Responsive Eye” exhibition 25, 119, 121, 279 n.22

opticality 89, 105, 119, 121, 148, 265, 292 n.29

and “Art of the Real” 254

and Cavell 236–7

and Fried 89, 121–4, 126, 159, 166, 231, 233–4, 236–7, 241–2

and Greenbergian modernism 7, 63, 111–12, 124, 155–6, 166, 205–6, 211, 223–4, 231, 242

and Krauss 241, 242

and Morris 155–6, 159

and Noland 111, 119, 122–3, 211, 254

and Stella 121–7, 230

and Truitt 8, 206, 224–6

see also Louis, Morris

Olitski, Jules; Pollock, Jackson Ortiz, Ralph 34, 140, 294 n.86

Ortman, George 48, 80, 294 n.86

Overy, Paul 259–60

Owens, Craig 242

Pachner, Joan 273 n.34

Paice, Kimberly 280 nn.27, 37, 296 n.10

painting: and flatness 111, 212, 231, 236

illusionist 55–7, 92, 111, 121, 125, 279 n.22

minimalist 5, 111, 126, 271 n.8

modernist 211–12

and shaped canvas 55, 119, 124–5, 212

and “Specific Object” 134–5

systemic 170–71

see also Hard-Edged abstraction; monochrome painting

Panoras Gallery 35, 56

Panza, Giuseppe di 215, 312 n.12

Park Place group 121, 145, 163, 265, 272 nn.17, 20, 281 n.55

and “Primary Structures” 20–22, 30

Parker, Ray 80, 283 n.9, 313 n.35

Parsons, Betty 78

Pawson, John 274 n.55

Pearlstein, Philip 33

Pei, I. M. 37, 303 n.191

performance art, and Morris 52, 155, 280 n.34

Perlstein, Rick 271 n.11

Perreault, John 182, 247, 253, 312 n.5

Perry, Ralph Barton 140–41, 277 n.23, 294 n.104

“Perverse Perspectives” 7, 119, 121, 126

Peterson, Houston and Kay 34

phenomenology 187, 240, 242

and Fried 233–4, 239

and Morris 153, 159, 160–62, 197, 261

Phillips, Peter 23, 273 n.35, 278 n.9

Tricurvular 16, 17

photography: and presence 242

serial 5, 179, 204–5, 206

Picard, Lil 54

Picasso, Pablo 23, 91, 99, 106, 139

Au Bon Marché 97

Guitar 139

Woman with Pushchair 52

Piene, Otto 174

Pinchbeck, Peter 21

Pincus-Witten, Robert 171, 269–70

Plagens, Peter 308 n.103

Plante, Michael David 313 n.40, 313–14 n.50, 314 n.57

Pleynet, Marcelin 254, 256

Plunkett, Edward 85

Pollock, Jackson 6, 33, 84, 282 n.96

and anti-compositionality 88–9

drip canvases 25–8, 88–9, 109, 220

and Judd 140

and literalism 124, 292 n.29

and opticality 89, 122, 155, 242

and specificity 134, 139

and wholeness 4, 89, 135, 169

see also Fried, Michael; Greenberg, Clement

Poons, Larry 5, 119, 205, 249, 274 n.50

and anti-compositionality 55–6, 167

and Cool Art 77

dot paintings 48–50, 55, 108, 167–9, 179

and Judd 54–5, 167–9

see also seriality EXHIBITIONS: “Art of the Real” 313 n.35

“Black, White, and Gray” 80

“Eleven Artists” 106–8

Green Gallery 51, 52, 54

Sao Paulo Bienal 293 n.69

“Systemic painting” 170; see also “New Work: Part 1”

WORKS: The Enforcer 45, 55, 55

Slice and Reel 48

pop art 5, 25, 33, 78, 119

commodification 33

and consumer culture 186

critique 235, 285 n.38

and Green Gallery 45–6

and Greenberg 211–13, 217, 304 n.2

and Judd 135

and minimalism 45–7, 56, 81, 146

as New Realism 253

social meaning 274 n.53

Post-Painterly Abstraction 66, 84, 211, 221

“Post-Painterly Abstraction” (1964) 213, 279 n.22, 291 n.13

postminimalism 7, 90, 153, 172–4, 262, 269–70

postmodernism, and minimalism 3, 9, 141, 242

Potter, Paul 312 n.25

Potts, Alex 302 n.166

Pound, Ezra 127

presence 231–3, 236, 242

presentness 233, 234, 237–9, 240–42

Price, Kenneth 294 n.86

Primary Structures 3, 47, 247, 262

and abstraction 21

and Greenberg 211–13, 215–16

and LeWitt 206

and Morris 269

and Truitt 72, 223, 224

“Primary Structures” (1966) 10, 12, 13–24, 14–21, 28–30, 33, 54, 80, 83, 109–11, 125, 144

and Andre 22–3, 30

and Bell 12, 21, 22, 30

and Caro 16, 22–3, 30

and Flavin 22, 30

impact 153

and Judd 18, 20–21, 22–4, 30, 60, 154, 167, 221, 273nn.21, 28

and LeWitt 13, 21, 22–3, 30, 202, 273 n.26

and monumentalism 163

and Morris 13, 18, 20–21, 22–4, 30, 273 n.21

and Truitt 16, 17, 22, 23, 224

process art 90, 269

and Bochner 178–9

and LeWitt 5

and Morris 116, 161–2, 267

productivism 156, 297 n.17

progression 251

and Flavin 178

and Judd 171–2, 174, 179, 206, 208

“Projected Art” (1966) 172

quality: and Greenberg 84, 86, 140–41, 211–13, 214

and presence 231–2, 238

Rainer, Yvonne 49, 145–6, 148–9, 249, 312 n.20

Trio A 146, 146

Raisen, Nathan 140, 294 n.86

Raskin, David 277 n.23

Rasmussen, Waldo 255–6

rationality, minimalism as a critique of 89–90, 251, 263–4, 267

Rauschenberg, Robert 33, 34, 48, 56, 80, 90, 141, 230, 249, 278 n.9

and collage 97, 139

and pop 212

and readymades 142

and seriality 7, 124, 167, 182

and specificity 134, 139

EXHIBITIONS: “Art in Series” 179

“Black, White, and Gray” 77, 85, 283 n.9

“New Forms – New Media” 97

WORKS: Black Painting 77, 212

Erased De Kooning 77

Odalisk 48

White Painting 77, 85, 179, 212, 299 n.102

Raysse, Martial 249, 278 n.9

readymades 8, 60, 81, 86, 212, 227, 257

and Andre 132–3

and Duchamp 98–9, 142–4, 145, 149

and Flavin 104–6

and Judd 139

and Morris 4

reduction 80–81, 85, 90, 106, 143, 145, 149, 159–60, 202

and Andre 20

and Greenberg 84

and Judd 20

and LeWitt 202–4

and modernism 24, 111, 231

and Morris 20

reflexivity: and Greenberg 55, 212–13, 235

and modernism 85

and Morris 116, 160–61

and Stella 170

“refusal”, aesthetic of 28, 78–80, 146–7, 150, 162, 254

Reich, Steve 312 n.20

Reinhardt, Ad 39, 47, 249, 274 n.50, 302 n.172

and monochrome painting 66–7, 142–4, 145, 212

and Truitt 66, 72–3, 282 n.95

EXHIBITIONS: “Art of the Real” 313 n.35

“Black, White, and Gray” 80, 283 n.9

“10” 303 n.187

WORKS: Abstract Painting – 1961 66–7;

Ultimate Painting 303 n.187

Reise, Barbara 249, 265, 279 n.21, 293–4 n.83, 298 n.74

Rejective Art 3

repetition see seriality

Resnais, Alain, Last Year at Marienbad 147–8, 147, 274 n.50, 295 n.132

Resnick, Milton 66 “The Responsive Eye” (1965) 25, 119, 121–2, 279 n.22

Reuben Gallery 34, 46

Reynolds, Ann 121–2

Richard, Paul 308 n.103

Richardson, Brenda 277 n.41

Rickey, George 52

Riley, Bridget 122, 273 n.40, 274 n.50, 279 n.22

Riley, Terence 217

Robbe-Grillet, Alain 77, 147–9, 295 n.132, 308 n.117

Robins, Corinne 271 n.ib, 272 n.15, 272 n.17

Robson, Deirdre 276 n.11

Rodchenko, Alexander Mikhailovich 4–5, 88, 112, 156, 290 n.144, 296 n.144

Hanging Structures 171

Pure Colors: Red, Yellow, and Blue 124

Roko Gallery 277 n.27

Romano, Salvatore, Zeno II 13

Rose, Barbara 6, 45, 265, 273 n.32, 275 n.57, 276 n.14, 278 n.4

“ABC Art” 5, 144–50, 153, 182, 202, 249

and Andre 40, 129, 144, 148–50

and Cool Art 279 n.17

and Flavin 97–8, 144, 149

and Judd 57, 60, 125–6, 138, 144, 148–50, 158

and Morris 144, 149, 153, 155, 215

and pop art 33, 146

and “Shape and Structure” 119, 144, 291 n.3

and Stella 34, 125, 144

and temporality 161

Rosenberg 81, 89

Rosenblum, Robert 46, 92, 279 n.13, 288 nn.93, 110

Rosenquist, James 24, 25, 45, 135, 294 n.86

Rothko, Mark 66, 73, 88, 92, 313 n.35

and color 47, 84, 109, 111, 155, 213, 292 n.29

and opticality 206

and specificity 134

and wholeness 4

Rowan, Robert 305 n.37

Rubenfeld, Florence 281 n.71, 282 n.95, 282–3 n.100, 306 n.42, 307 n.81

Rubin, William 63, 73, 92, 125, 127, 253, 292 n.30

Rublowsky, John 274 n.47, 278 n.2

Ruda, Edwin 121, 272 n.17

Ryman, Robert 34, 126

and anti-compositionality 56

“Systemic painting” 170 see also “Eleven Artists”

Samaras, Lucas 45, 52, 60, 163, 249

commodification 46, 278 n.12

and Happenings 34

“New Work: Part 1” exhibition 47, 50

and specificity 139

Sandler, Irving 146, 148, 273–4 n.45, 276 nn.2, 7, 281 n.70, 284 n.30

and Cool Art 5, 47, 77, 81, 106, 144, 279 n.17

and scale 163

Santayana, George 277 n.23

Sao Paulo Bienal 134, 293 n.69

Saret, Alan 267, 268

Sarraute, Nathalie 77

scale: and painting 91

and sculpture 163–6, 268

“Scale as Content” (1967) 163

Scarpitta, Salvatore 294 n.86

Scavullo, Francesco 25, 26, 27, 248

Schapiro, Meyer 18, 35, 218–21, 307 n.71

Schapiro, Miriam 80

Schjeldahl, Peter 167, 171

Schneemann, Carolee 280 n.34

Schuyler, James 35, 277 n.26

Schwabsky, Barry 294 n.106

Schwartz, K. Robert 312 n.20

Scott, Tim: and “New Generation” group 272 n.10

Peach Wheels 272 n.8

Scull, Ethel 25

Scull, Robert 25, 45, 273 n.23, 305 n.37

Seddon, Richard 314 n.66

Segal, George 45, 163

“New Work: Part 1” exhibition 47, 50

and specificity 139

Seitz, William C. 97, 274 n.50, 278 n.44

and “Responsive Eye” exhibition 121, 122, 279 n.22

Selz, Peter 215, 278 n.44, 301 n.123

sensibility, “new” 47, 53, 123, 139, 286 n.71

and ABC Art 5, 146–9, 155

and “Black, White, and Gray” 77–8

feminine 226–7

“Serial Imagery” (1968) 183

seriality 7, 8–9, 33, 178–9, 250, 264, 265

and Andre 82, 111, 167, 178, 182, 189, 192, 278 n.45

and anti-compositionality 90

as attitude 179

and Bochner 178–83, 208

and Flavin 100, 103–4, 167, 178, 182, 184

and Judd 56, 61, 88, 138, 149, 160, 167, 171–2, 178–9, 182, 184–6, 230

and Kusama 135

and LeWitt 167, 182–3, 200, 202–5, 206–8, 266, 300 n.114

and Morris 160, 167, 171, 267, 297 n.35

as negation 184–8, 227

and Poons 55, 167–9, 179

in “Primary Structures” exhibition 13, 21, 30

and Stella 92, 122, 124, 149, 167, 169–71, 182

and Truitt 70

Serra, Richard 161, 251, 267, 268

“Seven Sculptors” (1965) 134

Severdija, Sonja 98

shape: and Fried 230–33

and Judd 230

and Morris 7, 155, 157–66, 198, 230, 268

and Stella 55

and structure 119–27, 131

and Truitt 70, 74

see also canvas, shaped

“Shape and Structure: 1965” exhibition 118, 119–27, 142, 157

and Andre 42, 119–21, 126–7, 129, 145, 158, 166, 290 n.2, 291 n.3

and Bannard 119, 121, 126, 290 n.2

and Judd 42, 119, 144–5, 195–6, 247, 290 n.2

and Morris 126, 144–5, 290 n.2

and Stella 42, 118, 119–27

“The Shaped Canvas” exhibition (1965) 119, 121, 126, 157, 170, 291 n.4

Sharp, Willoughby 249

Sherman, Cindy 242

Shklovsky, Victor 301 n.132

Shriver, Sargent 256, 256, 257

Sidney Janis Gallery 33, 295 n.116

“The Classic Spirit in Twentieth Century Art” 87, 286 n.58

simplicity: and classicism 87

and Judd 90, 172

and minimalism 3, 77–86

and modernism 24, 77–81, 82, 85, 90, 109, 140, 253

“Sixteen Americans” (1959) 41, 90, 91

Smith, Brydon 288 n.89, 306 n.40

Smith, David 6, 23, 63, 111, 155–6

exhibitions 134, 313 n.35

and Greenberg 139, 211, 214, 222, 223–4

WORKS: Cubis 223, 234

Zigs 223

Smith, Leon Polk 35, 274 n.50

Smith, Richard 145, 291 n.4, 294 n.86

Smith, Roberta: and Judd 56, 276–7 n.21, 277 n.25, 281 n.48

and Truitt 308 n.103

Smith, Tony: and pictorial art (critique of) 232, 238

as proto-“minimalist” 23, 109–11, 222, 249–50, 289 n.136

and scale 163

and specificity 139

EXHIBITIONS: “Art of the Real” 313 n.35

“Black, White, and Gray” 77–8, 283nn.9, 10

“Minimal Art” 262, 263, 265

“Primary Structures” 13, 109–11

WORKS: Die 240, 298 n.60

Die Hard 23, 273 n.33

The Elevens Are Up 273 n.33

Free Ride 12, 13, 109–11

Night 273 n.33

Playground 273 n.33

Smoke 163

The Snake is Out 158, 159

Stinger 257, 258;

The Wall 273 n.33

We Lost 273 n.33

Smithson, Robert 5, 145, 153, 159, 202, 228, 249, 267, 293 n.56

and Andre 302 n.161

and the body of the viewer 161

and Flavin 105, 311 n.196

and Judd 60, 138, 141, 293 n.81, 301 n.126

and land art 275 n.77

and LeWitt 303 n.184

and new “sensibility” 148

and Park Place style 272 n.17

writing 6, 18, 24, 29, 60, 150, 249, 308 n.110

EXHIBITIONS: “Art in Process” 174

“Art of the Real” 313 n.35

“Art in Series” 179, 182

“Minimal Art” 262, 265

“Primary Structures” 24, 29, 30

WORKS: Alogon 303 n.187

The Cryosphere 13, 14

Enantiomorphic Chambers 175, 175

Glass Stratum 179

Mirror Stratum 181

Snow, Michael 294 n.86

Solomon, Alan 272 n.13

Sonnabend, Ileanna 41, 278 n.44

Sonnier, Keith 267, 268

Sontag, Susan 57–60, 146–8

Soviak, Harry 294 n.86

“Specific Objects” (Judd) 5, 51, 55, 56, 83–4, 119, 125, 134–41, 144, 262

and anti-naturalism 233

and blurring of media 4, 7, 134–5, 141, 230

critique 48, 153, 267

and Greenbergian modernism 134, 139–41, 143

and Morris 4, 7, 88, 139, 166, 228

and wholeness 158

specificity: and blurring of media 112, 147, 154, 156, 212, 223, 226, 236

and Greenbergian modernism 134, 139–41, 166, 212–13, 222–3

and Judd 60, 134–9, 160, 186, 233

and Morris 4, 154, 159, 228

and process 178

and Truitt 139, 222, 226

and Wollheim 143–4

Spector, Buzz 274 n.56, 300 n.118

Stable Gallery 28, 33, 46, 253, 279 n.15

Stein, Gertrude 127

Stein, Joel 274 n.50

Steinberg, Leo 215, 294 n.109

Steiner, Michael 202, 249, 262, 265, 315 n.90

Stella, Frank 5, 24–5, 249

and “10th Street” (critique of) 34, 47

and abstract imagism 66

and Andre 40–42, 92, 113, 122, 123, 126–7, 153, 254, 286 n.71, 289 n.137, 293 n.61, 302 n.147

and Cool Art 77

critiques see Fried, Michael; Greenberg, Clement; Lippard, Lucy

and Flavin 4, 87, 92–3, 123–4

and Hard-Edged abstraction 46, 47

and Judd 54–5, 87, 91–2, 116, 119, 122–7, 156, 169, 286 n.71, 287 n.76

and minimalism 81

and modernism 91, 123–4

and Morris 90, 113, 116, 286 n.72

and Noland 88

and painting 4, 92, 112, 135, 156, 236:

defense of 125–7, 171,

shaped canvas 119,

stripe paintings 41, 55, 81, 88, 92, 100, 122–4, 126–7, 160, 167, 169–70, 184–5, 189, 230, 286 n.71,

systemic painting 171, see also monochrome painting

Pratt Lecture 41, 90, 126, 169, 285 n.56

and presence 231

radio interview 87–93, 106–8, 121–2, 124–5, 208

and reliefs 48, 90

and specificity 139

studio 41, 289 n.137

and symmetry 88

see also anti-compositionality; literalism; opticality; seriality; wholeness

EXHIBITIONS: “Art of the Real” 313 n.35

“Black, White, and Gray” 80

Green Gallery 51, 52, 54

“Post-Painterly Abstraction” 213

Sao Paulo Bienal 293 n.69

“The Shaped Canvas” 119, 212, 291 n.4

“Sixteen Americans” 41, 91

“Systemic Painting” 170

“The Responsive Eye” 121, 274 n.50

“Three American Painters” 291 n.13 see also Castelli Gallery; “Eleven Artists”; “Shape and Structure”

WORKS: D 291 n.13

Aluminum series 100, 119, 122–3, 124, 127, 230, 277 11, 41

Arundel Castle 91

Benjamin Moore series 122, 277 n.41

Black Paintings 41, 78, 88, 112, 121–2, 127, 170, 277 n.41, 286 n.71, 289 n.137

Brazil series 292 n.46

Carl Andre 291 n.4

Club Onyx 291 n.3

Concentric Squares 121, 122–3, 226, 171

Copper series 119, 122–3, 124, 230

Fez 108

Getty Tomb (Second Version) 291 n.13

Gran Cairo 122, 122

Henry Garden 291 n.13

Irregular Polygons series 7, 121, 125–7, 125, 126, 230, 277 n.41, 292 n.30

Jill 41

Kingsbury Run 291 n.4

Leo Castelli 291 n.4

Marquis de Portago 283 n.17, 291 n.13

Mitered Comer 121, 122, 126

Notched series 124

Ophir 291 n.4

Polish Village series 292 n.46

Protractor series 125

Purple series 124

Running v series 124, 299 n.102

Star series 124

Tomlinson Court Park 91

Tuftonboro I 254, 255

Tuxedo Junction 78

Union Pacific 123;

Valparaiso Green (Sketch) 291 n.4

Stieglitz, Alfred 189

Still, Clyfford 20, 66, 84, 111, 155, 211, 307 n.68, 313 n.35

Stimson, Blake 271 n.11

Stockhausen, Karlheinz 175, 179

Stoop, Sarah 308 n.104

Storr, Robert 273 n.34

Stout, Myron 35

Streminski, Wladislaw 88

Strickland, Edward 3, 271 n.2, 280 n.27

Strider, Marjorie 48

structuralism 4, 9, 147

structure, and shape 119–27, 131

Stuckey, Charles 303 n.187

subjectivity: anti-subjectivity 77–8, 83, 109, 171, 180

and Fried 238, 241

and Judd 83–4, 89–90, 169, 172

surrealism 9, 219

and Judd 50, 60, 89

Swain, Robert 313 n.35

Swenson, Gene R. 60, 253, 278 n.10, 284 n.36, 285 n.38, 294 n.109

symmetry: anaxial 189, 195, 302 n.147

and anti-compositionality 47, 87–8, 90, 125, 163, 171, 286 n.63

bilateral 88

“Systemic Painting” (1966) 126, 170

Syverson, Terence 109

tactility 156, 159, 197–9, 213

Takis 313 n.37

Tamayo, Rufus 309 n.139

Tannenbaum, Judith 308 n.104

Tanner, Robert 294 n.86

taste: and Greenberg 84, 139–41, 214–17, 221, 223, 250

and Wollheim 144

Tate Gallery (London): and Andre’s Equivalent VIII 192, 261–2

and “The Art of the Real” 259–61, 260

Tatlin, Vladimir 112, 156, 264

Corner Counter-Relief 113, 156

Monument to the Third International 131, 156, 171

technology: and Greenberg and Shapiro 218–20

and Judd 57–60, 250–51, 264

temporality: and cinema 148

and Fried 233, 236, 238, 240

and Michelson 239–40

and Morris 54, 116, 161–2, 233, 240

and photography 242

“10th Street” school 33–4, 47, 81, 84, 109, 212, 253

theatricality 166, 232–3, 237–9, 240–43, 248, 268

Thiebaud, Wayne 135, 278 n.9

“Three American Painters” exhibition 119, 121, 291 n.13

Tibor di Nagy Gallery 33–4, 42, 118, 119–27, 129, 154, 157–8, 166, 253, 283 n.2

and Andre 7, 189–92

Tinguely, Jean 52, 278 n.9

Tobey, Mark 213

Todd, Michael, Viet 21, 21

Toffler, Alvin 28, 216, 275 n.1

Tomkins, Calvin 274 n.46

Truitt, Anne 33

and ABC art 145, 149

and Abstract Imagism 66–8, 72

early life and education 39–40

as “first” minimalist 63, 222–3, 226–7, 270

and gender and minimalism 8, 226–8

and installation 73–4

journals 6, 66, 282 n.84

and Judd 4, 73–4, 88, 139, 149, 166, 222–3, 227, 228

and Morris 70, 74, 149, 285 n.50

studio 40, 63, 226

and three-dimensional abstraction 3

see also color; gender; Greenberg, Clement; installation; literalism; Noland, Kenneth; opticality; specificity

EXHIBITIONS: André Emmerich Gallery 62, 63–74, 64, 73–4, 215, 222, 224, 224, 227, 283 n.2

“Black, White, and Gray” 77, 283 n.9

“Seven Sculptors” 134 see also “Primary Structures”

WORKS: Catawba 63, 64, 70, 74

First 63, 68–70, 68, 223

Hardcastle 63, 64, 72, 74, 226

Mary’s Light 71, 72

Odalskalki 226

Platte 63, 65, 73, 226

Sea Garden 16, 17, 22, 23, 224

Shadwell 70–72, 281 n.66

Ship-Lap 63, 70, 73, 88

Southern Elegy 68, 69, 70, 74

Summer Sentinel 73

Tribute 63, 281 n.66

untitled ink drawing 40

A Wall for Apricots 225, 226

White: Three 70, 71

Working drawing 40

Works on paper 68, 69

Truitt, James 39, 281 n.74

Tuchman, Maurice 290 n.144, 304 n.3

Tuchman, Phyllis 292 n.43

Tucker, William, Meru I, II, III 13

Tuttle, Richard 145, 149

Twombly, Cy 89, 283 n.9

Urban, Albert 37

Valledor, Leo 48

and “Eleven Artists” exhibition 106–8

Van Buren, Richard, Free Epton 16, 272 n.8

Van Doesburg, Theo 87, 88, 257

Varian, Elayne 172–5, 179, 183

Vasarely, Victor de 88, 109, 122, 263, 274 n.50, 289 n.134

vision see Gestalt psychology; illusionism; op art; opticality

Vogue 25, 29, 78, 217, 227

Von Schlegell, David, Wave 13

Wadsworth Atheneum 23, 77–8, 85–6

Wagner, Anne Middleton 300 n.108, 308 n.109

Wagstaff, Samuel Jr. 106–8, 109, 142–3, 146, 249

and “Black, White, and Gray” exhibition 77–81, 85, 122

Walker, Donald 302 n.155

Warhol, Andy 25, 28, 34, 46–7, 89, 274 n.53

and ABC art 5, 145

and anti-compositionality 56, 89

and Cool Art 77, 148, 218

and Judd 46–7, 279 n.15, 294 n.86

and seriality 235

EXHIBITIONS: “Art in Process” exhibition 299 n.85

“Black, White, and Gray” 78

“New Realists” 278 n.9

WORKS: Brillos 78, 132

Del Montes 78

Disasters 78, 149, 186;

Soup Cans 167, 186

Warhol, Andy and Hackett, Pat 276 n.14

Watts, Robert 294 n.86

Weber, Idell 34

Weber, John 263, 315 n.83

Wells, Jennifer 273 n.45, 275 n.1, 276 n.4, 278 n.2

Wesley, John 249

Wesselman, Tom 45, 135, 249, 278 n.9

Westermann, H. C. 294 n.86

white, allusions of 78, 200–02

White, Hayden 282 n.78

Whitman, Robert 34, 294 n.86

Whitney, David 305 n.37

Whitney Museum, and Judd 246, 247–9, 250

wholeness 126, 253, 262

and Flavin 4

and Judd 4, 88–90, 135, 138–9, 158, 161, 169, 171, 202, 230

and Mondrian 88

and Morris 158, 166, 202

and Newman 88, 89, 135, 169

and Stella 90–91, 122, 161, 169

Wigley, Mark 24

Willard, Charlotte 24, 182

Willenbacher, John 174

Williams, Neil: and “Shape and Structure” exhibition 119, 121, 126, 290–91 n.2

and “Shaped Canvas” exhibition 291 n.4

and specificity 294 n.86

Witkin, Isaac 273 n.35

Nagas 16, 16;

and “New Generation” group 272 n.10

Wittgenstein, Ludwig 147, 149, 234, 239, 295 n.132

Wittkower, Rudolph 35

Wolfe, Tom 274 n.46

Wollheim, Richard 142–4, 145

Woodham, Derrick 21, 272 n.9

Wurlitzer, Rudolph 299 n.85

Wurmfeld, Sanford 313 n.35

Yevtuchenko, Yevgeny 142

Yoshimura 294 n.86

Young, La Monte 51, 145, 148, 272 n.17, 312 n.20

Zelevansky, Lynn 276 n.14, 277 n.29, 287 n.130, 300 n.121

Zorio, Gilberto 268

Zox, Larry 119, 126, 145, 170, 290–91 n.2

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