Frank Stella Purity Precision Impersonality Abstraction Avicenna, 1960, aluminum paint on canvas, 6 x 6’  

Elimination of composition, theme, and other elements of traditional work. The medium and materials of the work are its reality The materials were not intended to symbolize anything else. Color was not used to express feeling or mood, but it simply to delineate space. Viewer’s response only in terms of the relationship between the various elements of the work. Viewer’s personal reaction to the object was of higher importance than the artist’s emotions Art should not reflect the personal expression of its creator Eliminate the presence of the creator in their work

the Black Paintings (1958–60)

Protractor Series Harran II, 1967. Polymer and fluorescent polymer paint on canvas, 120 x 240 inches.

Carl Andre “sculpture as place rather than form” Viewer-interactive sculpture 144 Pieces of Zinc, 1967, 144 zinc plates industrial materials Modular units Fall, 1968. Hot-rolled steel, 21 units, 71 x 28 x 72” each

Donald Judd ‘the simple expression of complex thought’ ‘stacks’, ‘boxes’ and ‘progressions’ ‘the simple expression of complex thought’ exploration of volume, interval, space and color Creator out of the work (external manufacturers) Untitled, 1961-9, Woodcut on paper Untitled 1969/1982 Anodized aluminum     Untitled,  1973, stainless steel, relief

Donald Judd Untitled, 1967-68. Stainless steel and plexiglass, in six parts. With Carl Andre’s 144 Pieces of Zinc, 1967

No. One, 1958 Acrylic on canvas Kenneth Noland No. One, 1958 Acrylic on canvas Flat areas of intense color, and a singular form within a given structure. I think of painting without subject matter as music without words. It affects our innermost being as space, spaces, air. -- Kenneth Noland

Noland, Untitled, 1978, aquatint, 14 x 15”

Kenneth NOLAND Oakum , 1970 synthetic polymer paint on canvas 228.3 (h) x 610.0 (w) cm

Agnes Martin Praise, 1976. Rubber stamp print, edition 1000. 16 3/8x16 5/16 inches The Shell, 1963 watercolor and ink on paper 12 x 12 in.

Agnes Martin, Drift of Summer, 1965, acrylic and graphite on canvas, 72 x 72 in.

Sol Lewitt Conceptual art "In conceptual art, the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all planning and decisions are made beforehand. The execution is a perfunctory affair. The idea becomes the machine that makes the art." Critics say of his work that it is: austere, simple, stark, unemotional, serial, minimal, conceptual, architectural, modular, systematic, ...stunningly beautiful. Question: Who is the artist when someone comes up with an idea for a work of art but has others make or construct it? Must an artist create a work with his/her own hand to produce a valid work of art?

http://www. artnet. com/Galleries/Artists_detail. asp http://www.artnet.com/Galleries/Artists_detail.asp?gid=264&aid=10484 Series 1-2-3: 47 3-Part Variations on Three Different Kinds of Cubes, 1968 three-dimensional structures placing geometric forms—solid or segmented squares and cubes— next to one another using a fixed ratio for the relationship of segments and spaces in each structure.

Serial Project, I (ABCD). 1966 Baked enamel on steel units over baked enamel on aluminum, 20" x 13' 7" x 13' 7" “Like the Minimalists, he often uses simple basic forms, in the belief that ‘using complex basic forms only disrupts the unity of the whole’; like the Conceptualists, he starts with an idea rather than a form, initiating a process that obeys certain rules, and that determines the form by playing itself out. “ MoMA Highlights

Four-Sided Pyramid, 1999, first installation 1997 concrete blocks and mortar

Installation of Wall Drawing No Installation of Wall Drawing No. 681 C, National Gallery of Art, Washington, August 25, 1993

Wall Drawing #918 Irregular vertical bands and horizontal bands, 13 x 29', latex paint, 1999, 1999

Acrylic on fiberglass; 12’ x 8’ x 6’ Splotch #15, 2005 Acrylic on fiberglass; 12’ x 8’ x 6’ curvilinear shapes highly saturated colors

Portrait of the Artist Throwing Molten Lead Richard Serra Large scale minimalist sculpture Portrait of the Artist Throwing Molten Lead Torqued Ellipses, 1996, steel 13' h. x 29' L x 20' w (each)

(site-specific) Richard Serra, Tilted Arc, 1981, raw rusting steel, 120’ x 12’, Federal Plaza, Lower Manhatan (destroyed, 1989)