Minimalismo (Arte Elementar)

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Minimalism (Art Elementary)

In New York in the late 1950s and early 1960s, the trend of the Visual Arts was minimalism, which reached a major arts center with the abstract expressionism of Jackson Pollock (1912-1956) and Willem de Kooning (1904 - 1997). The cultural excitement of the 1960s in the United States can be assessed by the various movements of the counterculture and the coexistence of different artistic expressions of pop art, made famous by Andy Warhol (1928-1987), the performances of fluxus, each exercising a particular temper criticism . Minimalism appears in this scenario with a word itself, contrary to the romantic exuberance of abstract expressionism. Relating to the North American abstract art that dates back to Ad Reinhardt (1913-1967), the minimal art emphasizes elementary forms, usually geometric cut, illusionists who refuse items and metaphorical.

The object of art, ideally located in the uncertain terrain between painting and sculpture, does not hide actual content or other senses. His truth is in the physical reality that is exposed to the eyes of the viewer, whose viewpoint is essential for the expression of the work, removing the decorative or expressive purpose. With this idea, the works of art are not simply material objects and vehicles with ideas or emotions.

Constructed a vocabulary of ideas as stripping, simplicity and neutrality, handling with the help of industrial materials: glass, steel, acrylic, etc.. The concept is effectively incorporated into the Visual Arts in 1966, when R. Wollheim refers to the artistic production of the 1960s as designed based on "minimum content" without discriminating lines and trends, which is done by later criticism that can locate different curvatures in the interior of minimalism.

The Suprematism of Kazimir Malevich (1878-1935), Constructivism and Abstract Mondrin Piet (1874-1944), are updated, especially by Donald Judd (1928), in geometric abstract works of nature, that dialogue very closely with the industrial aesthetic in form and materials used. In the open volumes of Judd in the early 1960s, the artist reveals structures and materials. In mid-decade, the serial and modular forms, which puts one thing after another, a formulation of Judd who becomes famous, explores patterns and regularity, mathematically calculated. The steel blades operate Smith, now co sense of wholeness and integrity, such as the steel piece titled Die, 1962, now with geometric cutouts and modules, such as Amaryllis, 1965.

The art work, this perspective is defined as the result of relationships between space, time, light and field of view of the observer. The work of Flavim, its "proposals" as he defines them, challenge the space so more radical: the light is scattered in the surrounding area, command, counting them. In this sense, the space is directly involving in the workplace is more than a backdrop. Fluorescent tubes, which he combines size, shape, color and light intensity, they create an ambience architectural form, which he calls "dramatic decor.

In Brazil, the works of Donald Judd and Frank Stella, attended the eighth International Biennial of Sao Paulo in 1965, as well as national productions Carlos Fajardo (1941) and Ana Maria Tavares (1958) both far more of a minimalist canon.