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Contemporary Art, Color Key: Teal/orange- readings Purple- 2d artists …

- - - - Fried argued that Minimalism's focus on the viewer's experience, rather than the relational properties of the work of art exemplified by modernism, made the work of art indistinguishable from one's general experience of the world.
        
        opened the door to establishing a theoretical basis for Minimalism as a movement
  - - - “The black man among his own in the twentieth century does not know at what moment his inferiority comes into being through the other. Of course, I have talked about the black problem with friends, or, more rarely, with American Negroes. Together we protested, we asserted the quality of all men in the world. In the Antilles, there was also that Little gulf that exists among the almost-white, the mulatto, and the [N-word]”
  - - - Sculpture in the expanded Field, Krauss defines the structural parameters of sculpture, architecture, and landscape art with a diagram she created.
      - -Defines what sculpture is and shows that “sculpture is rather only one term on the periphery of a field in which there are other, differently structured possibilities” (Krauss 38).
      - -explains that the definition of art and sculpture has become much broader in the last century. (post-modern)
      - -rather than making sculptures that are “logical,” or narrative based, artists are creating with their expression of self in mind.
      - Sculptors should challenge, or destroy the boundaries that divide our conception of sculpture. Essentially anything can be called sculpture- and this idea should be applied across mediums!
  - - - Performance, however, is not limited to mimetic repetition. It also includes the possibility of change, critique, and creativity within frameworks of repetition. Diverse forms such as performance art, dance, and theatre, as well as sociopolitical and cultural practices such as sports, rituals, political protest, military parades, and funerals, all, have reiterative elements that are reactualized in every new instantiation. These practices usually have their structures, conventions, and styles that bracket and separate them from other social practices of daily life.
        
        Performance is a practice and an epistemology, a creative doing, a methodological lens, a way of transmitting memory and identity, and a way of understanding the world.
  - - - The essay Form and Material aims to clear away the warped concept of the 'immaterial'. While being scientific overall, Vilém pulls together the idea of what Material and forms actually are and how we view the objects being made in the world with a vast variety of mediums.
      - “In short: Forms are neither discoveries nor inventions, neither Platonic Ideas nor fictions, but containers cobbled together for phenomena ('models'). And theoretical science is neither 'true' nor 'fictitious' but 'formal' (model-designing)”
      - “What is at issue is the concept of in-formation. In other words, imposing forms on materials. This has been apparent since the Industrial Revolution. A steel tool in a press is a form, and it in-forms the flood of glass or plastic flowing past it into bottles or ashtrays. In the past, it was a question of distinguishing between true and false information.”
      - “It is therefore not a question of whether images are the surfaces of materials or the contents of electromagnetic fields. But a question of the extent to which they arise from material, as opposed to formal, thinking and seeing. Whatever 'material' may mean, it cannot mean the opposite of 'immaterial'. For the 'immaterial' or, to be more precise, the form is that which makes material appear in the first place. The appearance of the material is form. And this is of course a post-material claim.”
  - - - Building on Minimalism's phenomenological approach, the darkened gallery's space Invites participation, movement, the sharing of multiple viewpoints, the dismantling of the single frontal screen, and an analytical, distanced form of viewing.
        
        The pictorial space created· by Renaissance linear perspective, where a fixed vanishing point dictated a singular position for the viewer, had endured for more than four hundred years. Beginning in the mid-nineteenth century, the viability of this unmoving station was challenged, and by the 1960s, it was physically dismantled by Minimalism.
  - - - "A starting point for the dominant strain of minimalism might be Judd’s first solo show in 1963 at the Green Gallery, when he was 35 years old. Green Gallery was opened on 57th Street in 1960 by Richard Bellamy, an iconoclastic, improvisational dealer who supported many of the artists who would later be called minimalist, like Robert Morris and Dan Flavin."
      - “A work needs only to be interesting.”