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AESTHETIC
THE MINIMALIST
IN THE PLASTICARTS
AND IN MUSIC
W. BERNARD
JONATHAN
After living with this painting and studying it intensely now and then,
I picked up on an attitude about makingsomethingthat was absolutely
unique to me.... the Black Painting... was like Rauschenberg'sdis-
covery that he wanted "neither life nor art, but something in
between." I then began to compose a music dealing preciselywith "in-
betweenness": creating a confusion of material and construction, and
a fusion of method and application, by concentrating on how they
could be directed toward "that which is difficult to categorize."9
This "confusion of material and its construction," this intrusion of life into
art so that what resulted was neither wholly one nor the other is exactly
what one would expect from an aesthetic in which explicit incorporation of
the creator'spersonality was held to be of utmost importance.
As the fifties progressed, and increasingly as they drew to an end, some
signs of rebellion against abstract expressionism became evident. In art,
two particularly significant figures were Barnett Newman and Ad
Reinhardt. Newman, in his so-called "stripe"paintings, put forth the idea,
not only of a drastic simplification or reduction, but also of a literalism
about the artwork that would become absolutely crucial to minimalism
later on. Newman spoke of the object as object, of his works as "declaring
the space" in which they operate.10 A painting, he said, "is nothing more
than a slice of space, a 'space vehicle,' which a painter gets into, and then
has to get out of."ll This statement bespeaks clearly an intention on
92 Perspectivesof New Music
Newman's part that nothing be left of himself in the painting once the
painting is done. Reinhardt, for his part, took a more uncompromising
tone: one of his Six Canons or "Noes" insists upon "No Expressionism or
Surrealism" and that "'the laying bare of oneself,' autobiographically or
socially, is obscene."12Further: "No accidentsor automatism"and "Every-
thing, where to begin and where to end, should be worked out in the mind
beforehand."13 Reinhardt's near-monochromatic canvases certainly do
seem to have anticipated the minimalist painters'use of solid fields of color
(Example 5).
On the musical side, the activities of the Fluxus group were probably the
most significant in the transition to minimalism. In his excellent treatment
of the subject in ExperimentalMusic: Cage and Beyond, Michael Nyman
points out that the Fluxus composers "reviewed multiplicity, found its
deficiencies, and chose to reduce their focus of attention to singularity."'14
This was very much an issue of control: the performance pieces which
George Brecht called "events"bore only a superficial resemblance to the
mixed-media "happenings"pioneered by Cage as early as 1952. As is well
known, the happening was designed to promote spontaneity and unpre-
dictable outcomes from the random intersections and collisions of simul-
taneously, independently executed activities.The austerityof Brecht'sevents
stands in stark contrast to such abundance (Example 6).15
The reader will notice that these compositions do not by any means
exclude variabilityfrom their realization or remove all powers of decision-
making from their performers. However, the sheer range of possible out-
comes has been severelyreduced--and it has been done without retreating
from the "wide-open" nature of aleatory, for these pieces continue to
stretch the boundaries of what can be considered music. Further, these
events have a curiously anonymous, or impersonal, aspect, as if anyone
could have planned them-something which is really not true of Cage's
pieces, despite his supposedly having removed himself from the proceed-
ings. Is there anything, really, that categorically distinguishes Brecht's
Fluxus pieces from La Monte Young's of about the same time? This
impersonal quality is noticeable even as one recognizes the vigorously,
almost aggressively distinct and original aesthetic that underlies them as
their common ground.
As the sixties began, the definitive break from abstract expressionism in
the plastic arts came at the hands of such younger artists as sculptor Donald
Judd and painter Frank Stella, who had reached a point of intense dissatis-
faction with this tendency of the personality to attract attention to itself.
Stella recalls:
THREETELEPHONEEVENTS
* Whenthe telephonerings, it is
allowedto continueringing, until it stops.
G. Brecht
(1959-62)
Events(1961),
EXAMPLE6: GEORGE BRECHT, ThreeTelephone
AND DripMusic (DripEvent) (1959-62)
The search for alternativesled to the adoption of various strategies: (1) the
minimization of chance or accident; (2) an emphasis upon the surfaceof the
work, by means of the absolutely uniform application of color-as if the
ideal were an industrial paint job-or by other techniques that produced an
exceptionally smooth, "machined" finish; (3) a concentration upon the
whole rather than the parts -that is, upon arrangement rather than
composition - and a concomitant reduction in the number of elements,
96 of New Music
Perspectives
fact, such as Robert Morris, the impression given by art objects that they
had been manufactured-whether literally true or not-was crucial to
breaking"the tedious ring of'artiness' circumscribingeach new phase of art
since the Renaissance"and helping to remove the accompanying interposi-
tion of artist'spersonality between artwork and viewer.28
The simplification of musical materialsthat accompaniesthe suppression
of chance procedures also results in the equivalent of a "shiny"or "nonpain-
terly" presence. This is manifest in several features. One is the limited
repertoire of sound sources, whether they be taped or live; in the latter
case, the harmonies favored are preponderantly consonances and "mild"
dissonances. (The old tonal criteria are invoked here only for the sake of
convenience; the music itself, by definition, need not have anything to do
with common-practice harmony.) Another notable feature is the extensive
use of repetition, whether or not in the service of graduallyinduced, barely
perceptible change over time. Recourse to such a device, especially when
combined, as is so often the case, with the projection of a constant, uniform
pulse and a busy, bustling, or "buzzing" character, seems calculated to
evoke a sense of flatness, to deny that there is anything but surface to
engage the listener'sattention.29 Of course, if there reallywere nothing but
surfaceto this music, one could only conclude that it was nonhierarchically
based. Such a basis is evidently not an impossible one for visual art-to
judge from the historical evidence-so perhaps it is not for music either.
The possibility is worth pointing out, if only to suggest that it may account
for the difficulties experienced by theorists in particular in accepting this
music as worthwhile art. For now, it will suffice to keep in mind Morris's
dictum that "Simplicityof shape does not necessarilyequate with simplicity
of experience."30
(3) The shift in emphasis from composition to arrangementin minimal
art, or from parts to whole, seems to have come about as an attempt to
communicate more directly and clearly. One way of doing this was to
reduce the number of parts. Among the sculptors, Judd, Morris, and Carl
Andre are particularly significant for the ways in which their work
embodies this idea. Judd has been bluntly eloquent on the subject: "When
you start relating parts, in the first place, you're assuming that you have a
vague whole-the rectangle of the canvas-and definite parts, which is all
screwed up, because you should have a definite wholeand maybe no parts,
or very few."31Andre got around the problem of relations between parts
by using bricks of a fixed size, arranged (unmortared) in various ways:
these came across as "regimented, interchangeableunits" which "did not
lend themselves to relational structures" because "any part could replace
any other part" (Example 8).32 Arrangement is taken here to imply "a
preconceived notion of the whole," as opposed to composition,which "usu-
ally means the adjustment of the parts, that is, their size, shape, color, or
100 of NewMusic
Perspectives
placement, to arriveat the finished work, whose exact nature is not known
beforehand."33 The work illustrated in Example 9 is one of Andre's
arrangements, a series entitled Equivalents I-VIII, in which the same
number of bricks (120) is placed to form each of eight larger blocks, all two
bricks high but varying in their other two dimensions. Still another solu-
tion was proposed by Morris:
... Certain forms do exist that, if they do not negate the numerous
relative sensations of color to texture, scale to mass, etc., do not
present clearlyseparated parts for these kinds of relations to be estab-
lished in terms of shapes. Such are the simpler forms that create strong
gestalt sensations. Their parts are bound together in such a way that
they offer a maximum resistance to perceptual separation.34
xX
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-o ri
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EXAMPLE 11: ROBERTMORRIS, Untitled(1965). PLEXIGLASSMIR
FOURPIECES,EACH28" x 28" x 28"
The Minimalist
Aesthetic 105
13 [151
nL-
I :777 ri r-r :77 ri rrrnr 7
11 J JrL~~~^~?
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M16 17
18rdfrf^ 7
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opposite corners were lopped off or other alterations were made to get
away from the standard rectangular format, producing a shape which
became identical in dimensions to the image (Example 13). Similarly in
sculpture, Judd's and Morris's "elementary,geometrical forms... depend
for their art quality on some sort of presence or concrete there-
ness.... There is no wish to transcend the physical for either the meta-
physical or the metaphoric. The thing, then, is presumably not sup-
posed... to be suggestive of anything other than itself."47 Judd himself
preferred to call work that exhibited such qualities "three-dimensional
art"--neither painting nor sculpture but "related, closely or distantly, to
one or the other"-or, even better, "specific objects."48
The desirabilityof directness of image is certainly evident in the artistic
credos of minimalist composers, notably Reich's essay,"Music as a Gradual
Process,"in which the author begins by explaining his title: "I do not mean
the process of composition, but rather pieces of music that are, literally,
processes.... I am interested in perceptible processes; I want to be able to
hear the process happening throughout the sounding music." Further, says
Reich of his method, "once the process is set up and loaded it runs by
itself"--a feature which acts to remove its inventor from the scene actually
unfolded in the music.49 Reich is also careful to point out the distinction
between Cage's use of process and his own: "The processes he used were
compositional ones that could not be heard when the piece was per-
formed."50 Again with reference to Indeterminacy, it would seem that
although the experience of listening to such a piece is intended to parallel
the process of creating it-in that one follows the accumulation of the
result, moment by moment-one is provided with nothing to go on con-
cerning the basis on which the creative decisions were actually made.
Unable to determine what the largerplan might be-or even whether there
is a largerplan-listeners are far more likely to focus their attention on what
might be called the "eternalpresent"of the individual stories, less likely to
attempt to make sense of the whole. Thus a kind of stasis is established-
apparentlymuch like the stasis that Feldman claims to have brought to his
own work by studying the paintings of such abstractexpressionistsas Mark
Rothko and Philip Guston, for he sees in his compositional aims a denial of
process-in fact, an explicit opposition to it.51
Reich's idea of processis especially interesting in light of the fact that
minimalist artists sought to introduce a kind of temporality into their
work. Morris notes: "Only one aspect of the work is immediate: the
apprehensionof the gestalt. The experience of the work necessarilyexists in
time."52 As Maurice Berger comments:
oO
00
rv
0
I
oo
r-
The Minimalist
Aesthetic 109
EXAMPLE15: JOBAER,Untitled(Wraparound
Triptych-Blue,Green,
Lavender)(1969-74). OIL ON CANVAS. THREE PANELS, EACH 48" x 52"
o
I if X
[ x
91
I
1-1
-c
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The Minimalist
Aesthetic 115
without completing the cube). A similar sort of principle operates, not only
in Reich's phase-shifting pieces, but also in works such as his Music for
EighteenMusicians (1974-76), in which each of a series of eleven chords
given in the relativelybrief opening serves in turn as the basis of a section;
this "composing out" accounts for almost the entire duration of the piece,
excepting only the opening and the conclusion which is its exact duplicate.
The wide applicability of this serial principle, in fact, suggests that it is
entirely appropriate to continue to apply the term minimal to the more
recent work of Glass, Riley, and Reich, despite attempts on the part of some
critics (and composers) to brand it "Post-Minimal."
It is for this very quality of temporality,however-instilled at least partly
for the sake of rendering the work clearerand more accessible and making
of it "something that everyone can understand," in the words of sculptor
Tony Smith58-that minimal art is perhaps most open to criticism. A
difficulty arises from the fact that the basis for the governing decisions
noted above is rarely(if ever) justified in any larger terms. In an influential
and provocative essay entitled "Art and Objecthood," Michael Fried noted
the consequences of this lack: "The actual number of modular units in a
given piece is felt to be arbitrary, and the piece itself... is seen as a
fragment of, or cut into, something infinitely larger." Curiously, this
impression lends a sense of "endless, or indefinite, duration"to the work
itself.59 Environmental artist Robert Smithson has drawn attention to
these very qualities in the works he calls "nonsites,"which he developed as
a way of containing an "oceanic" site and its "disruption." In his words,
"The container is in a sense a fragment itself, something that could be
called a three-dimensional map.... It actually exists as a fragment of a
greater fragmentation. It is a three-dimensionalperspectivethat has broken
away from the whole, while containing the lack of its own containment.
There are no mysteries in these vestiges, no traces of an end or a begin-
ning."60As Example 20 shows, Smithson often incorporated photographs
or maps into such works, showing the place from which the materialfor the
nonsite was taken.
Numerous critics in the sixties quickly came to realize that this new art,
through its fixation upon literal appearance- Stella's"what you see is what
you see"-guaranteed that the work would include the beholder.Not in the
sense simply of drawing viewers in, of involving them or fascinating them,
but rather in the sense that the act of looking at the work of art would
become part of that work's meaning: "An earmarkof minimalist art is the
tendency to locate content outside the art object, in its physical setting or in
viewers' responses, rather than 'inside' it, in the literary or psychological
import of an image, for example."70This quality amounts in part to a
critique of earlierart and its implicit assumption that what is located strictly
within the work could wholly define the artistic experience--that a work of
EXAMPLE 20: RoBERT smITHsoN, A Nonsite,Frankldin,
N.J
PART 1: WOOD, LIMESTONE. 16'/2" x 82" x 110"
The Minimalist
Aesthetic 117
EXAMPLE20 (CONT.):
ROBERTSMITHSON,A Nonsite,Franklin,N.J.(1968)
PART 2: AERIAL PHOTOGRAPH
118 of New Music
Perspectives
art could in fact mean anything without someone around to look at it. But
this dependence upon the beholder turned out to be a coin with an
opposite side: being included also meant being controlled, coerced. Barbara
Rose has noted this quality in Judd'swork (Example 21); what he is trying
to do, she says,
The sheer, vast size of many works of minimal sculpture, besides precluding
one from taking them in all at once,72 may also serve to menace the viewer.
Richard Serra'sCircuit, for example (Example 22), has been described as a
work that makes one feel unguarded at every side to stand at its center-in
the end, it is "an assault upon our vanity of feeling that we govern the
figure we cut in the eyes of the world."73 In her forceful indictment of this
and other aspects of minimal art, Anna Chave notes that the evident desire
to dominate the viewer goes hand in hand with the tendency to favor large,
even overwhelming scale (especially in sculpture) as a way of seizing
control of an area or a space. In some sculptors' work, this aim has been
carried to such extremes as to have literallyendangered life and property.74
Paintersas well have adopted techniques that seem, among other things,
calculated to annoy or frustrate the viewer. In particular,Kenneth Noland
has produced canvases that are extremely narrow (vertically) but so long
(horizontally) that one cannot stand far enough away from them in any
normal exhibition space to get them entirely within one's field of vision all
at once. The experience of looking at his diamond-shaped canvases has
been characterizedas "basicallyunsatisfying and unstable," because "one's
eye, in trying to focus on the colors and gauge their relativehues, is always
slipping off the edge of the canvas, propelled there by the tilt of the
bands."75Writing about some of Noland's work from around 1967, this
same critic found that either the viewer must give into
And Stella has been quite candid about the aspect of coercion in his own
work:
Even when all the cards are on the table and everyone hears what
is graduallyhappening in a musical process, there are still enough mys-
teries to satisfy all. These mysteries are the impersonal, unintend-
ed, psycho-acoustic by-products of the intended process. These might
include sub-melodies heard within repeated melodic patterns, stereo-
phonic effects due to listener location, slight irregularitiesin perform-
ance, harmonics, difference tones, etc.82
people who will wander right out of the hall in the middle of a perform-
ance.90 Perhaps this constitutes a liberation of sorts, but clearly not every-
one thinks so. Mertens, for example, points out that "Since each moment
may be the beginning or the end, the listener can choose how long he
wants to listen for, but he will never miss anything by not listening."91
NOTES
43. Such is evidently the view of Elaine Broad, for example, who in her
article, "A New X? An Examination of the Aesthetic Foundations of
Early Minimalism" (MusicResearchForum 5 [1990]: 51-62), refersto
minimal music as "non-time-directed"(59). In this regard, she echoes
Mertens, who speaks of the "mereduration and stasis"of Young'swork
(AmericanMinimal Music, 89). Nyman, too, comes perilously close to
equating the formal stasis attributed by Cage in 1948 to new music
(including his own) with the qualities of Young's music ("Against
Intellectual Complexity in Music," 88-89).
44. Hitchcock, "Minimal Art and Music"; John Rahn, "What Is Valuable
in Art, and Can Music Still Achieve It?,"Perspectives
of New Music 27,
no. 2 (Summer 1989): 6-17.
45. Glaser, "Questions to Stella and Judd," 158.
46. Quoted in Rubin, "FrankStella," 108.
47. BarbaraRose, "A B C Art,"Art in America, October-November 1965;
reprintedin Battcock, Minimal Art, 291.
48. Judd, "Specific Objects," Arts Yearbook8 (1965); reprinted in Judd,
CompleteWritings 1959-1975 (Halifax: Nova Scotia College of Art
and Design; New York:New YorkUniversity Press, 1975), 181-89.
49. Steve Reich, "Music as a Gradual Process" (1968), in Writings about
Music (Halifax: Nova Scotia College of Art and Design; New York:
New YorkUniversity Press, 1974), 9.
50. Ibid., 10. He refers,in all likelihood, to the methods used for Changes,
ImaginaryLandscapeNo. 4, and Musicfor Piano 21-52, all documented
in John Cage, Silence(Middletown, Conn.: WesleyanUniversity Press,
1973), 57-61.
51. Feldman, "Crippled Symmetry," 137; "Some Elementary Questions,"
67-70. Discussing his TriadicMemories,Feldman notes that each of the
chords in slow tempo is repeated a number of times depending on
"how long I felt it should go on," and reports finding that "Quite soon
into a new chord I would forget the reiterated chord before it."
Working with this phenomenon, he aimed for a "disorientation of
memory," under which the repetition without discernible pattern
would suggest"that what we hear is functional and directional, but we
soon realize that this is an illusion" ("CrippledSymmetry," 127). The
idea of an eternal present could not be more clearlyprojected than it is
here.
52. Morris, "Notes on Sculpture," 234.
The Minimalist
Aesthetic 131