COLOURFIELD PAINTING  Sixties painting was variously termed Colourfield, Hard Edge, Minimal, and post-painterly abstraction, and was linked with Pop Art, Op (optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting.   The painters linked in this study with ‘Colourfield’, ‘Hard Edge’ ‘Minimal’ and ‘Post-Painterly Abstraction’ painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colourfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray.   Colourfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser’s “Questions to Andre and Judd”, Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. Time and again Judd insisted that the new art was to trying to get away from the European tradition. ‘It suits me fine if that’s all down the drain’, Judd said. ‘I’m totally uninterested in European art and I think it’s over with.’   Many of the Colourfield and Sixties painters have made extremely brilliantly colourful works in the 1960s, then turned back to the sombre colours of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated colour: they moved back and forth from monochrome greys and blacks to full colour. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright colour to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colours of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works.   Fully illustrated, with notes and bibliography.

Colourfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present

Arts & Photography

GARRARD, LAURA

Morris, Stuart

History & Criticism

Crescent Moon Publishing

BRICE MARDEN  The American artist Brice Marden (b. 1938) is one of the great contemporary painters.   Brice Marden's first works were the Minimalist monochrome panels of the 1960s, large, austere, 'implacable' oil and wax paintings characterized by a precise coolness. In 1975 Marden had a one-man show at the Guggenheim Museum.   Laura Garrard looks at Marden's artistic career, from the early works, the multi-panel works of the 1970s, the Sea Paintings, Grove Group, Greek and landscape works, and the 'Annunciation Series' and Thira.   In the 1980s, Brice Marden developed a 'calligraphic' or 'Oriental' art, which appeared in many prints as well as large canvases.   Brice Marden studied at Florida Southern College, Lakeland, and Boston University School of Fine and Applied Arts, receiving a Bachelor of Fine Arts in 1961. That year, he worked at Yale Norfolk Summer School in Connecticut. In 1963 he was awarded a Master of Fine Arts degree in painting from Yale University at New Haven. He moved to New York City, and worked as a guard in the Jewish Museum. At this time he was married to Pauline Baez, the sister of Joan Baez, the singer, and had a son, Nicholas.   In the mid-1960s, Marden began to have one-man exhibitions (typically at Bykert Gallery, where he had many shows). In 1966 he became an assistant to Robert Rauschenberg. In the late 1960s, Marden began making multi-panel paintings. He worked as a painting instructor at the School of Visual Arts in New York from 1969-74. He had solo shows and group shows in Europe (Milan, Turin, Paris, Dusseldorf). In 1975 there was the ten-year retrospective at the Guggenheim in New York, unusual for so young an artist. From 1973, Marden visited Greece every year.   Other major shows included a one-man exhibition of drawings (1964-74) at Contemporary Arts Museum, a drawing retrospective at Kunstraum Munich, and the Whitechapel and Stedelijk Museum, Amsterdam one-man shows of 1981. An exhibition of prints 1961-91 travelled to the Tate Gallery, London, Baltimore Museum of Art and the Musee d'art moderne de la ville de Paris.   This is the only full-length appraisal available. Fully illustrated, with new illustrations.

Brice Marden (Contemporary Art)

COLORFIELD PAINTING  Painting in the 1960s produced some of art's most lyrical and distinctive works: it was termed Colorfield, Hard Edge, Minimal,  and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting. •••  The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray. •••   Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd", Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.' •••   Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works. •••   AUTHOR'S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists.   Fully illustrated, with notes and bibliography. Large format. 208 pages. ISBN 9781861713452. •••   This third edition has been completely rewritten. ••• www.crmoon.com

Colorfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present

COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT  Painting in the 1960s produced some of art's most lyrical and distinctive works: it was termed Colorfield, Hard Edge, Minimal,  and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting. •••  The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray. •••   Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd", Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.' •••   Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works. •••   AUTHOR'S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists.   Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861713733.   This third edition has been completely rewritten. ••• www.crmoon.com

Colorfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present (Painters Series)

<p>COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT By Laura Garrard Painting in the 1960s produced some of art’s most lyrical and distinctive works: it was termed Colorfield, Hard Edge, Minimal,  and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting. The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray. Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd", Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.' Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works. AUTHOR’S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists. REVISED AND UPDATED, WITH NEW ILLUSTRATIONS Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861713940. This third edition has been completely rewritten. Also available in hardback. www.crmoon.com COLORFIELD PAINTING CONTENTS Introduction 1 • The Aesthetics of Colorfield, Minimal, Hard Edge and Post-Painterly Abstract Painting 2 • Abstract Expressionism and Sixties Colorfield Painting • Abstract Expressionist Painting. Barnett Newman. Mark Rothko. 3 • ‘Monochrome and Monotonous’: Colorfield Painting and ‘Boring’ Art 4 • Sixties Colorfield, Minimal, Serial, Hard Edge and Post-Painterly Abstract Painters Frank Stella Morris Louis Helen Frankenthaler Kenneth Noland Robert Ryman Agnes Martin Ad Reinhardt Brice Marden Richard Diebenkorn Ellsworth Kelly 5 • Other Colorfield, Minimal, Hard Edge, Serial and Post-Painterly Abstract Painters Illustrations Notes Bibliography</p>

Colorfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the 1960s To the Present (Painters Series)

COLORFIELD PAINTING: MINIMAL, COOL, HARD EDGE, SERIAL AND POST-PAINTERLY ABSTRACT ART OF THE SIXTIES TO THE PRESENT Revised and updated, with new illustrations Painting in the 1960s produced some of art’s most lyrical and distinctive works: it was termed Colorfield, Hard Edge, Minimal,  and post-painterly abstraction, and was linked with Pop Art, Op (or optical) Art, chromatic art, kinetic abstraction, wholistic art, pure-painting, geometric abstraction, ABC Art, Cool Art, Non-gestural Painting, Non- Relationalism, Abstract Mannerism and Abstract Sublime painting. The painters linked in this new study with 'Colorfield', 'Hard Edge' 'Minimal' and 'Post-Painterly Abstraction' painting include Minimal artists such as Brice Marden, Sol LeWitt, Agnes Martin, Ad Reinhardt and Robert Ryman; Colorfield painters such as Helen Frankenthaler, Kenneth Noland, Sam Gilliam and Morris Louis; post-painterly abstractionists such as Frank Stella, David Novros, Richard Diebenkorn, Al Held, Jo Baer and Jules Olitski; and Hard Edge painters such as Ellsworth Kelly, Robert Mangold, Joseph Albers and Elisabeth Murray. Colorfield, Minimal, Hard Edge and Post-Painterly Abstract painting had a distinctly American (and New York) flavour to it, even if it was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd", Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. The New World not the Old World. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that's all down the drain', Judd said. 'I'm totally uninterested in European art and I think it's over with.' Many of the Colorfield and Sixties painters have made extremely brilliantly colorful works in the 1960s, then turned back to the sombre colors of grey and black in the late 1980s and 1990s. Painters such as Brice Marden, Frank Stella, Jasper Johns and Jules Olitski are ambiguous about saturated color: they moved back and forth from monochrome greys and blacks to full color. In the late 1980s and the 1990s, painters such as Frank Stella, Ellsworth Kelly, Jules Olitski and Larry Poons moved from bright color to muted monochrome. Mid-1990s works by Frank Stella were unpainted, using instead the natural colors of metal and wood; Brice Marden turned from his luscious monochromes of the 1970s and 1980s to the black-and-white of Chinese calligraphy in the Cold Mountain series and other works. AUTHOR’S NOTE: There are chapters on each of the key painters of the 1960s, whose works continue to inspire and entertain. I have revised the book for this edition, bringing it up to date. I hope readers will discover some new insights into many of their favourite artists. Fully illustrated, with notes and bibliography. Large format. 220 pages. ISBN 9781861714428. This third edition has been completely rewritten. Also available in hardback. www.crmoon.com COLORFIELD PAINTING CONTENTS Introduction 1 • The Aesthetics of Colorfield, Minimal, Hard Edge and Post-Painterly Abstract Painting 2 • Abstract Expressionism and Sixties Colorfield Painting • Abstract Expressionist Painting. Barnett Newman. Mark Rothko. 3 • ‘Monochrome and Monotonous’: Colorfield Painting and ‘Boring’ Art 4 • Sixties Colorfield, Minimal, Serial, Hard Edge and Post-Painterly Abstract Painters Frank Stella Morris Louis Helen Frankenthaler Kenneth Noland Robert Ryman Agnes Martin Ad Reinhardt Brice Marden Richard Diebenkorn Ellsworth Kelly 5• Other Colorfield, Minimal, Hard Edge, Serial and Post-Painterly Abstract Painters Illustrations Notes Bibliography

Colorfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present (Painters)

MINIMAL ART AND ARTISTS IN THE 1960s AND AFTER By Laura Garrard All of the main practitioners and theoreticians of the still-influential 1960s Minimal art movement and style are studied here: Donald Judd, Robert Morris, Carl Andre, Frank Stella, Robert Ryman, Robert Smithson, Brice Marden, Dan Flavin, Eva Hesse, Sol LeWitt, and many land artists. Minimal artists studied in this book also include Agnes Martin, Hans Haacke, Piero Manzoni, Yves Klein, Ad Reinhardt, Ellsworth Kelly, Richard Serra, Robert Mangold and Tony Smith. There are chapters on Minimal aesthetics; Minimal painting and painters; Minimal sculptors and sculpture; and  Minimal art and land artists. Probably the premier Minimal artist (and philosopher) is Donald Judd; Judd stands at the centre of Minimal art, and no account of Minimalism is complete without placing Judd in the foreground. Judd is such an inspiring and provocative artist; his works form some of the most significant art of the past 50 years. Some Minimalists have been taken up by feminists as icons (Eva Hesse). Some continued to work in mainly Minimal art throughout their careers (Ellsworth Kelly, Frank Stella, Brice Marden, Carl Andre), while others moved into Process art (Robert Morris), Conceptual art (Hans Haacke), performance art, body art, installation art, and feminist art (Judy Chicago). Some dipped in and out of Minimal art (Gerhard Richter). These artists, and the art they produced, form the main subject of this book. Terms for Minimalism like ‘reductionist’, ‘Rejective Art’, ‘non-hierarchical’, ‘non-relational’, ‘non-anthropomorphic’, ‘Gestalt’, ‘environmental’, ‘Serial’, ‘Cool art’, ‘Know-Nothing Nihilism’ and ‘Idiot Art’, were also employed. As Harold Rosenberg pointed out, few art movements had so many terms applied to it, and so many different definitions. For an art that was supposed to be about all things ‘minimal’, it attracted a lot of discussion. ‘The rule applied is: The less there is to see, the more there is to say’. REVISED AND UPDATED, WITH NEW ILLUSTRATIONS Fully illustrated. 280 pages. Large format. ISBN 9781861715586. www.crmoon.com AUTHOR’S NOTE: I have completely rewritten and revised this new (3rd) edition of Minimal Art and Artists. It includes new material, and I’ve updated the book. There are also 40 pages new illustrations. MINIMAL ART AND ARTISTS CONTENTS PART ONE: THEORY 1 MINIMAL AESTHETICS Minimal Art and Artists • Minimal Art and Literature • Minimal Art and Philosophy • Minimal Scale • The Presence of the Object • Minimal Art and Constantin Brancusi • Monochrome and Monotonous • Conceptual Art • The Religious Elements In Minimal Art • Light and Space • Kinetic Sculpture and Minimal Art • Boxes and Squares • Minimal Circles PART TWO: PAINTING 2 MINIMAL PAINTERS The Aesthetics of Minimal Painting • Frank Stella • Morris Louis • Ad Reinhardt • Brice Marden • Robert Ryman • Agnes Martin • Richard Diebenkorn • Robert Mangold • Ellsworth Kelly • Gerhard Richter • Other Minimal Painters PART THREE: SCULPTURE 3 MINIMAL SCULPTORS Donald Judd • Tony Smith • Carl Andre • Robert Morris • Dan Flavin • Sol LeWitt • Richard Serra • Hans Haacke • Eva Hesse • Anne Truitt • Nevelson, Hepworth, Horn, Winsor • Other Minimal Sculptors 4 MINIMAL ART AND LAND ART The Economics of Minimal Art and Land Art • Minimal Art and Nature • British Minimal Art and British Landscape Tradition • Minimal Art and Sculpture in the UK • Changes, Cycles, Seasons 5 MINIMAL ARTISTS AND LAND ARTISTS Robert Smithson • Michael Heizer • Dennis Oppenheim • James Turrell • Nancy Holt • Alice Aycock • Mary Miss • Walter de Maria • Christo • Richard Long • Other Land and Installation Artists 6 MINIMAL ART TODAY Illustrations Notes Bibliography

Minimal Art and Artists: In the 1960s and After

Minimal Art and Artists: In the 1960s and After (Painters Series)

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