Founded as a backlash against abstract expressionism, Minimalism was characterized by simplified, stripped-down forms and materials used to express ideas in a direct and impersonal manner. By presenting objects as simple objects, minimal artists sought to communicate without referring to expressive or historical themes.

Featuring the work of American and European artists, this book traces the history of conceptual art from its origins in the Dada movement through to its current practitioners. It offers an accessible explanation of the phenomenon rooted in a social context. Aimed at A level and undergraduate students, as well as the general reader.

Celebrated for his explorations of the process of creating art and of the 'idea' of art, Rudolf Stingel combines minimalist, conceptual, and performative practices to create unexpected spaces. This work is the critical survey of Stingel's career, and accompanies the Italian-born artist's first solo exhibition in the United States.

Minimalism emerged and developed as a reaction against the emotiveness of abstract expressionism. Although most of the artists involved did not regard themselves as part of a group, there are certain key factors which define minimalist work: this work discusses such characteristics.

Founded in 1903 by Josef Hoffmann, Koloman Moser, and Fritz Waemdorfer, the Wiener Werkstatte ( Vienna Workshop ) was a collective of architects and craftsmen which aimed at fusing architecture and interior design into a Gesamtkunstwerk, or total work of art.

Minimalism was a movement pioneered in America in the late 1860s that aimed at reducing sculpture and painting to its most essential forms. Through the work of its key practitioners, this book examines the defining characteristics and the debates of the art belonging to the movement.

Explores the notion of minimum , a concept rooted in the pursuit of simplicity, as applied to architecture, art and design. John Pawson captures the essential qualities of particular kinds of simplicity, and illustrates them with examples from architecture, photography, furniture and pottery.

Dan Flavin (1933-1996) established himself as one of the most innovative and significant artists of the minimalist movement. This book includes essays that respond to the exhibition Dan Flavin: A Retrospective and to the renewed interest in Flavin's work and its place in 20th-century art.

This work documents the network of ideas that has been labelled conceptual art. Including texts by and taped discussions among and with the artists involved, the book is arranged as an annotated chronology.

The term Minimalism appeared in the mid-1960s, primarily with reference to the stripped-down sculpture of artists like Robert Morris and Donald Judd. Investigating the origins of Minimalism in postwar American culture, the author redefines it as a movement that developed radically reductive stylistic innovations in numerous media.

Minimalism is one of the key movements in 20th-century art, which has had an enormous impact on subsequent artists, architects, composers and designers. It aimed at reducing sculpture and painting to its most essential forms. This book examines the defining characteristics - and the debates - of the art belonging to movement.

This is a collection of writings by and about the work of the 1960s minimalists, illustrated with photographs of paintings, sculptures and performance.

Focusing on the single and multi-plate pieces that began in 1968 and culminated in 1976 when Jennifer Bartlett sprang onto the art scene with her pivotal Rhapsody painting, this book analyzes the significant role these formative and long-overlooked works played in her artistic development.

All the main practitioners and theoreticians of the still-influential 1960's Minimal art are studied here: Donald Judd, Robert Morris, Carl Andre Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Eva Hesse, Sol LeWitt and many land artists.