1. Minimalism

2. Serial Forms and Repetition
MoMA Minimalism Theme

3. Yayoi Kusama. Accumulation of Stamps, 63. 1962.
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When she was a girl, Yayoi Kusama had hallucinations of flowers, dots, and nets—“the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body, and the universe.” She has said that her use of repeated forms, in this case store-bought labels and stickers, grows out of her struggle with these hallucinations caused by mental illness. She does not consider her art to be an end in itself. Instead it serves a personal function: “I am pursuing my art in order to correct the disability which began during my childhood.” The repetition required to make collages like this one are reflected in Kusama’s titles, which often include the words accumulation and infinity.
Yayoi Kusama. Accumulation of Stamps,
Pasted labels and ink on paper, 23 3⁄4 x 29" (60.3 x 73.6 cm).
Gift of Philip Johnson.
© 2012 Yayoi Kusama 
Yayoi Kusama. Accumulation of Stamps,
MoMA Minimalism Theme

4. Eva Hesse. Repetition Nineteen III. 1968.
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Repetition Nineteen III is composed of 19 translucent, bucket-like forms, each approximately 20 inches tall. Minimalist artists explored serial repetition of identical units, but Hesse loosened that principle. Her forms are handmade and irregular rather than manufactured and hard-edged. They are similar to one another in size and shape, but none of them are exactly alike. Repetition Nineteen III sits directly on the gallery floor. Hesse was flexible about the arrangement of the nineteen units that make up this work. She did not give specific instructions about how her work was to be arranged, so its overall shape varies with each installation.
Hesse used a wide range of materials to make her sculptural works. She was drawn to newly developed materials like fiberglass, which hadn’t been used for sculpture before Hesse began working with it. Aware of the instability of materials like fiberglass, which discolors and deteriorates over time, Hesse said, “Life doesn’t last; art doesn’t last. It doesn’t matter.”
Eva Hesse. Repetition Nineteen III
Fiberglass and polyester resin, 19 units, Each 19 to 20 1/4" (48 to 51 cm) x 11 to 12 3/4" (27.8 to 32.2 cm) in diameter.
Gift of Charles and Anita Blatt.
© 2012 Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen III
MoMA Minimalism Theme

5. Eva Hesse. Repetition Nineteen III. 1968.
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The next four slides are preliminary drawings made by Eva Hesse for Repetition Nineteen. 
Eva Hesse. Repetition Nineteen III
Fiberglass and polyester resin, 19 units, Each 19 to 20 1/4" (48 to 51 cm) x 11 to 12 3/4" (27.8 to 32.2 cm) in diameter. Gift of Charles and Anita Blatt.
© 2012 Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen III
MoMA Minimalism Theme

6. Eva Hesse. Repetition Nineteen, Second of 3 versions. 1967.
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Take a close look at each of these drawings.
Eva Hesse. Repetition Nineteen, Second of 3 versions
Pen and ink on transparentized paper, 8 7/8 x 11 7/8" (22.5 x 30.3 cm).
Gift of the Eva Hesse Estate.
© 2011 Reproduced with the permission of the Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen, Second of 3 versions
MoMA Minimalism Theme

7. Eva Hesse. Repetition Nineteen. 1967.
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What problems do you think Eva Hesse was trying to work out in these drawings?
Eva Hesse. Repetition Nineteen
Pencil on graph paper, 10 7/8 x 8 1/2" (27.9 x 21.6 cm).
Gift of the Eva Hesse Estate.
© 2011 Reproduced with the permission of the Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen
MoMA Minimalism Theme

8. Eva Hesse. Repetition Nineteen I. 1967-68.
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Do these drawing studies give you any more information about the final three-dimensional fiberglass Repetition Nineteen III?
Eva Hesse. Repetition Nineteen I
Gouache, watercolor, and pencil on paper, 11 1/8 x 14 7/8" (28.4 x 37.8 cm).
Gift of the Eva Hesse Estate.
© 2011 Reproduced with the permission of the Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen I
MoMA Minimalism Theme

9. Let’s compare these two versions of Repetition Nineteen
Eva Hesse. Repetition Nineteen I
The earlier version is made with paper maché, aluminum screen and paint. The latter version is made with fiberglass.
How do the materials change the piece?
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The earlier version is made with paper maché, aluminum screen and paint. The latter version is made with fiberglass. Why do you think she made variations of the piece with different materials. How do the materials change the piece? How does the way the pieces are photographed change the way you perceive the piece?
Eva Hesse. Repetition Nineteen I
Paint and papier-mâché on aluminum screening, 19 units (one missing), Each 9 1/8 to 10 1/2" (23.2 to 26.6 cm) x 6 1/2 to 9 1/8" (16.5 to 23.2 cm) in diameter.
Gift of Mr. and Mrs. Murray Charash.
© 2011 Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich
Eva Hesse. Repetition Nineteen III
Fiberglass and polyester resin, nineteen units, Each 19 to 20 1/4" (48 to 51 cm) x 11 to 12 3/4" (27.8 to 32.2 cm) in diameter.
Gift of Charles and Anita Blatt.
Eva Hesse. Repetition Nineteen III
MoMA Minimalism Theme

10. “The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloging the results of his premise.”
– Sol LeWitt
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Why do you think LeWitt decided to name this piece Serial Project., I (ABCD)?
Sol LeWitt. Serial Project, I (ABCD) Baked enamel on steel units over baked enamel on aluminum, 20" x 13' 7" x 13' 7" (50.8 x x cm).
Gift of Agnes Gund and purchase (by exchange).
© 2012 Sol LeWitt/Artists Rights Society (ARS), New York
Sol LeWitt. Serial Project, I (ABCD)
MoMA Minimalism Theme

11. “The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloging the results of his premise.”
– Sol LeWitt
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“The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloging the results of his premise.” ­– Sol LeWitt
Can you see how LeWitt is following a strategy for showing all possible combinations of cubes here? What are the Three different kinds of cubes he is using? Are all the variations shown here, or is this just a portion of the possible arrangements? He says that a serial artist catalogs the results of a premise. Can you explain how that is shown here and on the next slide?
Sol LeWitt. (332) From all Three-Part Variations on Three Different Kinds of Cubes
Painted polystyrene, six parts, Each 12 x 4 x 4" (30.5 x 10.2 x 10.2 cm), on polystyrene strip, 44 x 4" (111.8 x 10.2 cm), on wooden base, 3/4 x 52 x 11 7/8" (1.9 x x 30.2 cm); overall, 12 3/4 x 52 x 11 7/8" (32.5 x x 30.2 cm).
Ruth Vollmer Bequest.
© 2012 Sol LeWitt / Artists Rights Society (ARS), New York
Sol LeWitt. (332) From all Three-Part Variations on Three Different Kinds of Cubes
MoMA Minimalism Theme