Relationship between minimalism and Pop Art - Essay Example

Relationship between Minimalism and Pop Art Total Number of Words: 3,000 Introduction The concept of abstract expressionism has been closely related to jazz music and the American post-world war II art movement in New York back in 1940s1, 2. Often times, abstract expressionism has been strongly related to the American-style painting and sculpture which includes giving emphasize to the use of a free-low gestural brushwork in painting3, 4. Unfortunately, the use abstract expressionism was subjected to a lot of criticism. For instance, back in 1949, the 18 foot-long painting of Lewis was criticized for using a “flat, radical abstraction” which purposely rejects the creation of illusion in terms of depth5, 6, 7. In order to liberate the artists from the use of flat, radical abstraction, the minimalism art movement was created. Aiming to serve as a response against the formation of the abstract expressionism, the minimalism art such as the concept of neo-avant-garde came after the American post-war sometime in late 1950s up to 1960s. As a common practice, the term minimalism is sometimes called as the “ABC Art”, “literalism”, or “rejective art”8. Based on the history of art movement, the existence of minimalism has been considered as one of the most significant artistic style that has ever been created during the mid-20th century9. To avoid creating a flat image on painting, most of the minimalist artists have tried to define the use of colours as a way to create either symmetrical and/or geometric images in paintings10. Originated in Britain during the late 1950s up to 1960s, the pop art movement was formed to go against the concept of both abstract expressionism and minimalism11. As such, the pop art movement challenges that way traditional fine arts were created. Likewise, the development of pop art movement also tried to put a distinction between the creation of “high art and low popular culture”12. Based on aesthetical issues, the history of art movement, and social responses, this essay will purposely discuss the main relationship between minimalism and pop art. As part of the main discussion, similarities and differences between minimalism and pop art will be identified followed by determining the link that creates connection between these two types of art movements. In relation to American art and culture as well as the whole “anti-abstract expressionism”, the works of pop artists such as Andy Warhol and Robert Rauschenberg and minimalism artists such as Frank Stella and Donald Judd will be considered in this study. Depending on iconography, colours, forms, lines, shape, texture and other similar factors, at least one (1) work example coming from each of these four artists will be compared and contrast to show antithetical connections, similarities, and differences between minimalism and pop art. Similarities and Differences between Minimalism and Pop Art Both the minimalism and pop art movement was at its peak sometime in 1960s13, 14. In line with this, one of the most obvious similarities between the minimalism and pop art group of artists is that both movements were created as a way to reflect and react about the strong influence of consumerism and mass media over the American culture and society as a whole15. Likewise, both the minimalism and pop art movements are focused on challenging the supremacy of abstract expressionism particularly with it comes to painting16. Furthermore, both the minimalist artists and the pop art artists often time uses repetitive strokes and sequences when creating an art17. Specifically the concept of both minimalism and pop art arises as a contradicting response to the mass culture of the American post world war II18. In line with this, Weitman (1999, p. 9) mentioned that pop art artists tend to create an expansive and outward-looking theme as compared to the introspective themes that are commonly found in abstract expressionism19. In general, the minimalist artists are known for their ability to create simple and cool images or art work20 either by creating symmetrical and/or geometric images in paintings21. On the other hand, the pop artists are known for their ability to create one of a kind art using screen prints when working on either paper or canvas22. Despite the similarities between the minimalism and pop art movement, there are obvious differences between the minimalism and pop art. Often times, the differences between the minimalism and pop art can be noted based on its aesthetic traits. For instance, Fink (2005, p. 30) mentioned that the concept of minimalism is often considered as an “antidote” or a solution after the American World War II whereas pop art is often considered as a “reflection of our environment”23. Another obvious difference between the minimalist artists and pop art artists has been set on the grounds whereby the differences in the creation of art have been developed24. When it comes to techniques used in creating art, instead of creating “flat and radical abstract” in paintings such as those that are commonly used by the abstract expressionist artists25, 26, the minimalist artists are known for their ability to display either an enormous one-collared picture27, 28 or a white canvas or picture29. In the case of pop artists, instead of creating “flat and radical abstract” in paintings30, 31, this group of artists often has the ability to create artworks using screen prints such as the screen printed painting32, 33. To create a superimposed cliché on art works, pop art artists tend to make use of landscape with two-dimensions in paintings34. Also related to the differences between the minimalists and the pop art artists, Meyer (2001, pp. 3 – 5) explained that most of the minimalist artists are the ones who mostly create three-dimensional art works as a way to catch the attention of their target audiences35. In terms of creating art works, the minimalist artists often times engage themselves with the process of appraising the past and present. In line with this, Battcock (1995, p. 26) mentioned that the style used by most minimalist artists is complex in the sense that this group of individuals are obliged to form an entirely new way of creating art work based on containment, objects, scale, shape, and space36. It simply means that the minimalist artists should be able to create a close link between art work as an object and the object and human beings37. By nature, the pop art movement is not only “iconclastic” but also “rebellious”38. To easily capture the eyes of their target audiences, most of the pop art artists tend to use pop artists, icons within the fashion industry, movie stars, and other related celebrities parrticularly when it comes to promoting commercial products and/or each time there is a strong need to point out important arguments or critics about the modern society39, 40. Within the social context, artistic technique used by the minimalist artists has been criticized for stereotyping the attacks made on various races and gender41. Often times, the pop art artists were being mostly criticized by the curators in museum for not complying with the criteria of art per se42. Even though each and every artist has the role and responsibility to define the boundaries of an art, Stich (1987, p. 3) mentioned that one of the main reasons why pop art artists are being criticized is because of the fact that most of their works have no real meaning43. Most of the works done by pop art artists are commonly used in advertising and commercial purposes44. It means that most of the works of pop art artists will not necessarily inform its target audiences anything about the culture and tradition of each society. Relationship between Minimalism and Pop Art The relationship between minimalism and pop art movement lies behind its similarities when it comes to react about the strong influence of consumerism and mass media over the American culture and society as a whole45. In line with this, Fink (2005, p. 30) explained that either minimalist art works or pop art artists’ art works can be used as a tool when delivering contradicting responses to the mass culture in America after the world war II46. It simply means that depending on the social and economic status of the artists’ target audience; it is possible for them to choose between the use of minimalism and pop art particularly when it comes to expressing one’s own ideas and/or critics made on the entire society. In fact, the only difference between these two groups of art movement is the style and method they use in creating a wide-range of art works. Sample Work of Pop Artists: Andy Warhol and Robert Rauschenberg In general, most of the existing pop arts either incorporate the use of objects or images coming from various comic and for advertising purposes47. In line with this, Andy Warhol has been considered as one of the most successful pop art artists who managed to create a wide-range of art works which such as: drafting, hand drawing, film making, illustration, music, painting, photography, print-making, sculpture, silk screening, and writing48, 49. As a pop art artist, Warhol created distinction between commercial art and art works that can be presented in museums by innovating his one-of-a-kind commercial art for Campbell50, 51, 52. For instance, to create a portrait of Campbell soup cans, Warhol decided to make use of air-brush53. (See Figure I – Warhol’s Campbell Soup below) Figure I – Warhol’s Campbell Soup Source: Boundless, 2013, p. 743 Contrary to the adaptation of abstract expressionism, Robert Rauschenberg is one of the pop art artists who managed to create an entirely new technique when it comes to expressing his thoughts and ideas in painting. Aside from the use of different lighting effects, Rauschenberg is known for commonly using multiple objects when creating new images in canvas which supports the formation of modernism54. One of Rauschenberg’s interesting art works is the Small Rebus, 1956. In this particular oil canvas, Rauschenberg was able to create a unique image that is characterized by the use of “three-cent stamps”, a piece of U.S. map, and a family portrait55. A significant part of Rauschenberg’s motif in designing the Small Rebus, 1956 is the use of horizontal lines when painting these three (3) different samples or objects in canvas; each of these occupies an equally larger area in the painting. (See Figure II – Rauschenberg’s Small Rebus, 1956 on page 10) Figure II – Rauschenberg’s Small Rebus, 1956 Source: Temkin and Hall, 2008, p. 61 Sample Work of Minimalism Artists: Frank Stella and Donald Judd As the founder of minimalist school, Frank Stella is known for his ability to create unique images using “single colour” and repetition of basic lines that are significantly arranged in geometrical patterns56. Using “push and pull” technique, Cunningham (2013, p. 834) explained that Stella was able to come up with an image that can construct illusion such as the fact that parts in Stella’s Mas o Menos 1964 seems to be moving toward the audience57. Instead of coming up with a flat image, Stella managed to geometric images in canvass using metallic powder in acrylic emulsion58, 59. (See Figure III – Stella’s Mas o Menos 1964 below) Figure III – Stella’s Mas o Menos 1964 Source: Cunningham, 2013, p. 834 The image that can be seen in Stella’s Mas o Menos 1964 is technically an abstract60. However, even though this particular image can be mistaken as an abstract expression, Cunningham (2013, p. 834) explained that this particular image is considered as a minimalist art work since gestural brushwork was not used in the creation of this particular master piece61. Another well-known minimalism artist, Donald Judd has a way for being able to create new artistic ideas as compared to the usual techniques used in either abstract painting or sculpture62. In order to create good quality art work that is not within the normal practice in painting nor does sculpture, Judd strongly support the idea of using three-dimensions63. For instance, one of the Judd’s master piece is the image entitled “100 Untitled works in Mill Aluminium, 1982 – 1983” presented in figure IV below64. In this particular art work, Judd was able to create a piece of art work using the concept of three-dimensions. Using simple shapes such as the aluminium boxes pre-arranged on the floor within a spacious room65, Judd and played with the natural light that readily penetrate the window in order to create a unique minimalist image. Figure IV – Judd’s 100 Untitled works in Mill Aluminum, 1982 – 1983 Source: Cunningham, 2013, p. 835 Conclusion The close similarities between minimalism and pop art movement serve as a tie that connects these two different art movements. Aside from the fact that both minimalism and pop art movement were created sometime in 1960s, both movements were established as a way to allow people to reflect and react on cultural, social, and political issues that has been going on right after the World War II in America. In relation to the same goals and objectives of both minimalism and pop art movement, these two specific art movements has been focused on challenging the supremacy of abstract expressionism particularly with it comes to painting. Likewise, the use of repetitive strokes and sequences are commonly found in the works of minimalist and the pop art artists. Even though there are quite a lot of close similarities between the objectives and goals of the minimalism and pop art movement, evidences show that each of the minimalist and the pop art artists has their own individual and unique way of creating an art. For instance, Warhol who is a well-known pop art artist is widely known in the field of advertising and commercial arts. Also a well-known pop art artist, Rauschenberg has been widely known for using various objects when creating a unique and one-of-a-kind image in paintings. Specifically the work of Rauschenberg is a good example wherein the pop art artists are known for their effort not to create a flat image on canvas similar to those of what can be seen from the abstract expressionism artists. On the other hand, minimalist artists such as Stalla is known for creating geometrical images whereas Judd is known for creating three-dimensional art works. References Aronowitz, S. (1993). Roll Over Beethoven: The Return of Cultural Strife. Hanover, NH: University Press of New England. Batchelor, D. (1997). Minimalism. London: Tate Publishing. Battcock, G. (1995). Minimal Art, A Critical Anthology . London: University of California Press. Bossy, M.-A., Brothers, T. and McEnroe, J. (2001). Artists, Writers, and Musicians. Westport, Connecticut: Oryx Press. Boundless. (2013). Art History, Volume II: 1400-present. Boundless. Crane, D. (1987). The Transformation of the Avant-Garde: The New York Art World, 1940-1985. London: The University of Chicago. Cunningham, L. (2013). Culture and Values: A Survey of the Humanities, Volume II. Cengage Learning. Fink, R. (2005). Repeating Ourselves: American Minimal Music as Cultural Practice. 1st Edition. London: University of California Press. Heyden, K. (2012, June 27). Minimalism and Pop Art in the American 1960s. iecon. [Online] Available at: http://iecon.com/blog/?p=454 [Accessed 7 December 2013]. Kleiner, F. (2008). Gardners Art through the Ages: A Global History: A Global History. 13th Edition . Boston, MA: Cengage Learning. Marter, J. (2007). Abstract Expressionism: The International Context. NY: Rutgers, The State University. Meyer, J. (2001). Minimalism: Art and polemics in the sixties. London: Yale University Press. Patton, S. (1998). African-American Art. Oxford: Oxford University Press. Piper, A. (1996). Selected Writings in Art Criticism, 1967-1992. US: Graphic Composition Inc. Poor, N. (2008). Dirty Art: Reconsidering the Work of Robert Rauschenberg, Bruce Conner, Jay. Ann Arbor, MI: ProQuest Information and Learning Company. Stich, S. (1987). Made in U.S.A.: An Americanization in Modern Art, the 50s & 60s. London: University of California Press. Strickland, E. (1993). Minimalism: Origins. Bloomington, IN: Indiana University Press. Temkin, A. and Hall, E. (2008). Color Chart: Reinventing Color, 1950 to Today. NY: The Museum of Modern Art. Teraoka, M. (2006). Ascending Chaos: The Art of Masami Teraoka 1966-2006. California: Chronicle Books LLC. Tymieniecka, A.-T. (2008). Beautys Appeal: Measure and Excess. AA Dordrecht: Springer. Weitman, W. (1999). Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art. New York: Museum of Modern Art. Wye, D. (2004). Artists & Prints: Masterworks from the Museum of Modern Art. NY: The Museum of Modern Arts. Read More