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Processes and Systems: Minimalism, Conceptual Art and Arte Povera - Coggle…

- - - - relating to the formal characteristics of the site
        
        Whereas in previous art ‘what is to be had from the work is located strictly within it,’ the experience of literalist art is of an object in a situation—one that, virtually by definition, includes the beholder.”
    - - The shape is the object:
  - - - Carl Andre, 144 Magnesium Square, 1969 The forms of my work have never particularly interested me. What has been my search really is for a material, a particle of a material. It’s finding a material or a unit of material like a brick of the right size and the right shade and density and so forth – from finding this particle, I would combine it with others to make a work.
  - - - Donald Judd, Untitled, installation view, Dia Foundation, Beacon, NY, 1976
- - - - While the objects recalled Morris’s most iconic minimalist works, the exhibition’s emphasis on physical interaction made literal his ideas about the viewer’s involvement in the work of art. In 1966 Morris famously wrote of his approach to sculpture, ‘The object has not become less important. It has become less self-important. Robert Morris, Bodyspacemotionthings, 1971
  - - - Richard Serra, Splashing
        
        Richard Serra, One Ton Prop (House of Cards), 1969 Serra made One Ton Prop (House of Cards) by reacting to the verb “to prop.”
        
        Richard Serra, Ellipses, since the 1990s these large installations of contorted steel plates elaborate concerns with orientation and movement, destabilizing our experience of space as we attempt to comprehend each sculptural volume.
        
        Inspired by the curved shapes of Italian architect Francesco Borromini’s church of San Carlo alle Quattro Fontane (1646) in Rom
  - - - Sol LeWitt, Wall Drawing 16: Bands of lines 12 inches (30 cm) wide, in three direction (vertical, horizontal,diagonal right) intersecting, September 1969
        
        The artist didn't participate in the creation, he made a number of instruction , you could remake them following the instructions
        
        Sol LeWitt, Wall Drawing 1975 The idea is more important than the form
- - - - Joseph Kosuth, One and Three Chairs, 1965
        One and Three Chairs, Joseph Kosuth represents one chair three ways: as a manufactured chair, as a photograph, and as a copy of a dictionary entry for the word “chair.” The installation is thus composed of an object, an image, and words.
        Kosuth didn’t make the chair, take the photograph, or write the definition; he selected and assembled them together. But is this art? And which representation of the chair is most “accurate”?
  - - - John Baldessari, Throwing Three Balls in the Air
        to Get a Straight Line, 1973 Through the magic of photography, gravity was defeated, and the balls never had to come down. We should remember, however, that Throwing Three Balls was a game for two players. While Baldessari threw, his then-wife Carol Wixom operated the camera. Chance became the intersection of their performances, where the scattershot and the snapshot met.
- - - - Iannis Kounellis, Senza Titolo (12 Cavalli), Galleria L’Attico, Rome, 1969