"art only need be interesting".....

Empiricism emphasizes the role of experience and evidence, especially sensory perception, in the formation of ideas, over the notion of innate ideas or tradition in contrast to, for example, rationalism which relies upon reason and can incorporate innate knowledge.























I'm thinking of Donald Judd today. And the idea of factory made forms, bean bags and pillows. The below text is taken from Judd's NY times obituary, written by Roberta Smith, in 1994. The above images are not Donald Judd's works but are by Martin Creed, and Elad Lassry. I'm sure there is a connection somewhere.




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"Mr. Judd disliked the word Minimalist, calling himself "an empiricist" when pressed, and refused to call his work sculpture because he thought that implied carving. Like the efforts of other Minimalists, including Dan Flavin, Frank Stella, Carl Andre and Robert Morris, his simple, factory-made forms were seen as "radically depersonalized" (in the words of one critic, Hilton Kramer), devoid of emotion and signaling a dead end for art.

Much was made of the fact that Mr. Judd's work was fabricated by others and that mathematical progressions sometimes determined his compositions. One of his most famous, and most misconstrued, pronouncements was "Art need only be interesting."

text taken from here...





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We cannot live by the de-materialization —
or the slick re-materialization —
of the art object alone.

TEXT VIA:
Roberta Smith "Post Minimal to the Max"
an article discussing the current wave of museum
programming sweeping the U.S.

but in regards to interiors,
i think yes!

Bassam Fellows, furniture design

"Instead we’re getting example after example of squeaky-clean, well-made, intellectually decorous takes on that unruly early ’70s mix of Conceptual, Process, Performance, installation and language-based art that is most associated with the label Post-Minimalism."

brick house tumbler. a treasure trove of interiors

"But regardless of what you think about these artists individually, their shows share a visual austerity and coolness of temperature that are dispiritingly one-note. After encountering so many bare walls and open spaces, after examining so many amalgams of photography, altered objects, seductive materials and Conceptual puzzles awaiting deciphering, I started to feel as if it were all part of a big-box chain featuring only one brand.

uppose design office, mind-expanding work.

The goal in organizing museum exhibitions, as in collecting, running a gallery and — to cite the most obvious example — being an artist, should be individuation and difference, finding a voice of your own.

Olson Kundig architects.
form constrains fire. captivated by this detail in this cabin.

Instead we’re getting example after example of squeaky-clean, well-made, intellectually decorous takes on that unruly early ’70s mix of Conceptual, Process, Performance, installation and language-based art that is most associated with the label Post-Minimalism.

Either that or we’re getting exhibitions of the movement’s most revered founding fathers: since 2005, for example, the Whitney has mounted exhibitions of Robert Smithson, Lawrence Weiner, Gordon Matta-Clark and Dan Graham. I liked these shows, but that’s not the point. We cannot live by the de-materialization — or the slick re-materialization — of the art object alone. "





thoughts?

go here....
to read Roberta Smith's article.





We cannot live by the de-materialization —
or the slick re-materialization —
of the art object alone.
















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