I was not interested in irony; I wanted to emphasize the primacy of the idea in making art.
From Sol LeWitt
In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
Minimalism wasn't a real idea - it ended before it started.
Artists of many diverse types began using simple forms to their own ends.
I became interested in making books, starting about 1965, when I did the Serial Project #1, deciding that I needed a small book to show how the work could be understood and how the system worked.
Every generation renews itself in its own way; there's always a reaction against whatever is standard.
The narrative of serial art works more like music than like literature.
During the '70s I was interested in words and meaning as a way of making art.
Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating.
3 perspectives
2 perspectives
1 perspectives