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In visual arts, music, and other media, minimalism is an art movement that began in post–World War II Western art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with minimalism include Donald Judd, Agnes Martin, Dan Flavin, Carl Andre, Robert Morris, Anne Truitt, and Frank Stella.The movement is often interpreted as a reaction against abstract expressionism and modernism; it anticipated contemporary postminimal art practices, which extend or reflect on minimalism's original objectives.
Minimalism in music often features repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman, and John Adams. The term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman.
Minimalism in visual art, generally referred to as "minimal art", "literalist art"and "ABC Art" emerged in New York in the early 1960s as new and older artists moved toward geometric abstraction; exploring via painting in the cases of Nassos Daphnis, Frank Stella, Kenneth Noland, Al Held, Ellsworth Kelly, Robert Ryman and others; and sculpture in the works of various artists including David Smith, Anthony Caro, Tony Smith, Sol LeWitt, Carl Andre, Dan Flavin, Donald Judd and others. Judd's sculpture was showcased in 1964 at Green Gallery in Manhattan, as were Flavin's first fluorescent light works, while other leading Manhattan galleries like Leo Castelli Gallery and Pace Gallery also began to showcase artists focused on geometric abstraction. In addition there were two seminal and influential museum exhibitions: Primary Structures: Younger American and British Sculpture shown from April 27 – June 12, 1966 at the Jewish Museum in New York, organized by the museum's Curator of Painting and Sculpture, Kynaston McShine and Systemic Painting, at the Solomon R. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, and Hard-edge painting. In the wake of those exhibitions and a few others the art movement called minimal art emerged.
In a more broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.
In France between 1947 and 1948,Yves Klein conceived his Monotone Symphony (1949, formally The Monotone-Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence – a precedent to both La Monte Young's drone music and John Cage's 4′33″ . Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950—but his first public showing was the publication of the Artist's book Yves: Peintures in November 1954.
Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.
Artist and critic Thomas Lawson noted in his 1981 Artforum essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about modernist painting'sreduction to surface and materials so much as take his claims literally. According to Lawson, minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such. Also taking exception to this claim was Clement Greenberg himself; in his 1978 postscript to his essay Modernist Painting he disavowed this interpretation of what he said, writing:
There have been some further constructions of what I wrote that go over into preposterousness: That[ sic ] I regard flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic quality in pictorial art; that the further a work advances the self-definition of an art, the better that work is bound to be. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article.
In contrast to the previous decade's more subjective Abstract Expressionists, with the exceptions of Barnett Newman and Ad Reinhardt; minimalists were also influenced by composers John Cage and LaMonte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated that their art was not about self-expression, and unlike the previous decade's more subjective philosophy about art making theirs was 'objective'. In general, minimalism's features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
Robert Morris, a theorist and artist, wrote a three part essay, "Notes on Sculpture 1–3", originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt – "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects", originally published in Artforum, 1969, continuing on to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing." The general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism .
One of the first artists specifically associated with minimalism was the painter Frank Stella, four of whose early "black paintings" were included in the 1959 show, 16 Americans, organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas's black paintings were often determined by the dimensions of the lumber he used for stretchers to support the canvas, visible against the canvas as the depth of the painting when viewed from the side. Stella's decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a "given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and emotionally charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the previous generation of abstract expressionists, leaned more toward the less gestural, often somber, color field paintings of Barnett Newman and Mark Rothko. Stella received immediate attention from the MoMA show, but other artists—including Kenneth Noland, Gene Davis, Robert Motherwell, and Robert Ryman—had also begun to explore stripes, monochromatic and Hard-edge formats from the late 50s through the 1960s.
Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965), was a touchstone of theory for the formation of minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman,who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.
This movement was criticized by modernist formalist art critics and historians. Some critics thought minimal art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the 1960s. The most notable critique of minimalism was produced by Michael Fried, a formalist critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he declared that the minimal work of art, particularly minimal sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of minimal art. Fried's essay was immediately challenged by postminimalist and earth artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: "What Fried fears most is the consciousness of what he is doing—namely being himself theatrical."
In addition to the already mentioned Robert Morris, Frank Stella, Carl Andre, Robert Ryman and Donald Judd other minimal artists include: Robert Mangold, Larry Bell, Dan Flavin, Sol LeWitt, Charles Hinman, Ronald Bladen, Paul Mogensen, Ronald Davis, David Novros, Brice Marden, Blinky Palermo, Mino Argento,Agnes Martin, Jo Baer, John McCracken, Ad Reinhardt, Fred Sandback, Richard Serra, Tony Smith, Patricia Johanson, and Anne Truitt.
Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:
The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.
Reinhardt's remark directly addresses and contradicts Hans Hofmann's regard for nature as the source of his own abstract expressionist paintings. In a famous exchange between Hofmann and Jackson Pollock as told by Lee Krasner in an interview with Dorothy Strickler(1964-11-02) for the Smithsonian Institution Archives of American Art. In Krasner's words:
When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann's reaction was—one of the questions he asked Jackson was, "Do you work from nature?" There were no still lifes around or models around and Jackson's answer was, "I am nature." And Hofmann's reply was, "Ah, but if you work by heart, you will repeat yourself." To which Jackson did not reply at all. The meeting between Pollock and Hofmann took place in 1942.
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The term minimalism is also used to describe a trend in design and architecture, wherein the subject is reduced to its necessary elements.[ citation needed ] Minimalist architectural designers focus on the connection between two perfect planes, elegant lighting, and the void spaces left by the removal of three-dimensional shapes in an architectural design.[ according to whom? ][ citation needed ]
Minimalistic design has been highly influenced by Japanese traditional design and architecture.[ citation needed ] The works of De Stijl artists are a major reference: De Stijl expanded the ideas of expression by meticulously organizing basic elements such as lines and planes.[ citation needed ] With regard to home design, more attractive "minimalistic" designs are not truly minimalistic because they are larger, and use more expensive building materials and finishes.[ citation needed ]
There are observers who describe the emergence of minimalism as a response to the brashness and chaos of urban life. In Japan, for example, minimalist architecture began to gain traction in the 1980s when its cities experienced rapid expansion and booming population. The design was considered an antidote to the "overpowering presence of traffic, advertising, jumbled building scales, and imposing roadways."The chaotic environment was not only driven by urbanization, industrialization, and technology but also the Japanese experience of constantly having to demolish structures on account of the destruction wrought by World War II and the earthquakes, including the calamities it entails such as fire. The minimalist design philosophy did not arrive in Japan by way of another country as it was already part of the Japanese culture rooted on the Zen philosophy. There are those who specifically attribute the design movement to Japan's spirituality and view of nature.
Architect Ludwig Mies van der Rohe (1886–1969) adopted the motto "Less is more" to describe his aesthetic.His tactic was one of arranging the necessary components of a building to create an impression of extreme simplicity—he enlisted every element and detail to serve multiple visual and functional purposes; for example, designing a floor to also serve as the radiator, or a massive fireplace to also house the bathroom. Designer Buckminster Fuller (1895–1983) adopted the engineer's goal of "Doing more with less", but his concerns were oriented toward technology and engineering rather than aesthetics.
Luis Barragán is an exemplary modern minimalist designer.[ according to whom? ][ citation needed ] Other contemporary minimalist architects include Kazuyo Sejima, John Pawson, Eduardo Souto de Moura, Álvaro Siza Vieira, Tadao Ando, Alberto Campo Baeza, Yoshio Taniguchi, Peter Zumthor, Hugh Newell Jacobsen, Vincent Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman. [ page needed ][ verification needed ]
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Minimalist architecture became popular in the late 1980s in London and New York,where architects and fashion designers worked together in the boutiques to achieve simplicity, using white elements, cold lighting, large space with minimum objects and furniture.
The concept of minimalist architecture is to strip everything down to its essential quality and achieve simplicity.The idea is not completely without ornamentation, but that all parts, details, and joinery are considered as reduced to a stage where no one can remove anything further to improve the design.
The considerations for 'essences' are light, form, detail of material, space, place, and human condition.Minimalist architects not only consider the physical qualities of the building. They consider the spiritual dimension and the invisible, by listening to the figure and paying attention to details, people, space, nature, and materials., believing this reveals the abstract quality of something that is invisible and aids the search for the essence of those invisible qualities—such as natural light, sky, earth, and air. In addition, they "open a dialogue" with the surrounding environment to decide the most essential materials for the construction and create relationships between buildings and sites.
In minimalist architecture, design elements strive to convey the message of simplicity. The basic geometric forms, elements without decoration, simple materials and the repetitions of structures represent a sense of order and essential quality.The movement of natural light in buildings reveals simple and clean spaces. In the late 19th century as the arts and crafts movement became popular in Britain, people valued the attitude of 'truth to materials' with respect to the profound and innate characteristics of materials. Minimalist architects humbly 'listen to figure,' seeking essence and simplicity by rediscovering the valuable qualities in simple and common materials.
The idea of simplicity appears in many cultures, especially the Japanese traditional culture of Zen Philosophy. Japanese manipulate the Zen culture into aesthetic and design elements for their buildings.This idea of architecture has influenced Western Society, especially in America since the mid 18th century. Moreover, it inspired the minimalist architecture in the 19th century.
Zen concepts of simplicity transmit the ideas of freedom and essence of living.Simplicity is not only aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities and essence of materials and objects. For example, the sand garden in Ryoanji temple demonstrates the concepts of simplicity and the essentiality from the considered setting of a few stones and a huge empty space.
The Japanese aesthetic principle of Ma refers to empty or open space. It removes all the unnecessary internal walls and opens up the space. The emptiness of spatial arrangement reduces everything down to the most essential quality.
The Japanese aesthetic of Wabi-sabi values the quality of simple and plain objects.It appreciates the absence of unnecessary features, treasures a life in quietness and aims to reveal the innate character of materials. For example, the Japanese floral art, also known as Ikebana, has the central principle of letting the flower express itself. People cut off the branches, leaves and blossoms from the plants and only retain the essential part of the plant. This conveys the idea of essential quality and innate character in nature.
However, far from being just a spatial concept, Ma is present in all aspects of Japanese daily life, as it applies to time as well as to daily tasks.
The Japanese minimalist architect Tadao Ando conveys the Japanese traditional spirit and his own perception of nature in his works. His design concepts are materials, pure geometry and nature. He normally uses concrete or natural wood and basic structural form to achieve austerity and rays of light in space. He also sets up dialogue between the site and nature to create relationship and order with the buildings.Ando's works and the translation of Japanese aesthetic principles are highly influential on Japanese architecture.
Another Japanese minimalist architect, Kazuyo Sejima, works on her own and in conjunction with Ryue Nishizawa, as SANAA, producing iconic Japanese Minimalist buildings. Credited with creating and influencing a particular genre of Japanese Minimalism,Sejimas delicate, intelligent designs may use white color, thin construction sections and transparent elements to create the phenomenal building type often associated with minimalism. Works include New Museum(2010) New York City, Small House (2000) Tokyo, House surrounded By Plum Trees (2003) Tokyo.
In Vitra Conference Pavilion, Weil am Rhein, 1993, the concepts are to bring together the relationships between building, human movement, site and nature. Which as one main point of minimalism ideology that establish dialogue between the building and site. The building uses the simple forms of circle and rectangle to contrast the filled and void space of the interior and nature. In the foyer, there is a large landscape window that looks out to the exterior. This achieves the simple and silence of architecture and enhances the light, wind, time and nature in space.
John Pawson is a British minimalist architect; his design concepts are soul, light, and order. He believes that though reduced clutter and simplification of the interior to a point that gets beyond the idea of essential quality, there is a sense of clarity and richness of simplicity instead of emptiness. The materials in his design reveal the perception toward space, surface, and volume. Moreover, he likes to use natural materials because of their aliveness, sense of depth and quality of an individual. He is also attracted by the important influences from Japanese Zen Philosophy.
Calvin Klein Madison Avenue, New York, 1995–96, is a boutique that conveys Calvin Klein's ideas of fashion. John Pawson's interior design concepts for this project are to create simple, peaceful and orderly spatial arrangements. He used stone floors and white walls to achieve simplicity and harmony for space. He also emphasises reduction and eliminates the visual distortions, such as the air conditioning and lamps to achieve a sense of purity for interior.
Alberto Campo Baeza is a Spanish architect and describes his work as essential architecture. He values the concepts of light, idea and space. Light is essential and achieves the relationship between inhabitants and the building. Ideas are to meet the function and context of space, forms, and construction. Space is shaped by the minimal geometric forms to avoid decoration that is not essential.
Gasper House, Zahora, 1992 is a residence that the client wanted to be independent. High walls create the enclosed space and the stone floors used in house and courtyard show the continuality of interior and exterior. The white colour of the walls reveals the simplicity and unity of the building. The feature of the structure make lines to form the continuously horizontal house, therefore natural light projects horizontally through the building.
Literary minimalism is characterized by an economy with words and a focus on surface description. Minimalist writers eschew adverbs and prefer allowing context to dictate meaning. Readers are expected to take an active role in creating the story, to "choose sides" based on oblique hints and innuendo, rather than react to directions from the writer.
Some 1940s-era crime fiction of writers such as James M. Cain and Jim Thompson adopted a stripped-down, matter-of-fact prose style to considerable effect; some classify this prose style as minimalism.[ weasel words ]
Another strand of literary minimalism arose in response to the metafiction trend of the 1960s and early 1970s (John Barth, Robert Coover, and William H. Gass). These writers were also sparse with prose and kept a psychological distance from their subject matter.[ citation needed ]
Minimalist writers, or those who are identified with minimalism during certain periods of their writing careers, include the following: Raymond Carver, Ann Beattie, Bret Easton Ellis, Charles Bukowski, Ernest Hemingway, K. J. Stevens, Amy Hempel, Bobbie Ann Mason, Tobias Wolff, Grace Paley, Sandra Cisneros, Mary Robison, Frederick Barthelme, Richard Ford, Patrick Holland, Cormac McCarthy, and Alicia Erian.[ citation needed ]
American poets such as Stephen Crane, William Carlos Williams, early Ezra Pound, Robert Creeley, Robert Grenier, and Aram Saroyan are sometimes identified with their minimalist style. The term "minimalism" is also sometimes associated with the briefest of poetic genres, haiku, which originated in Japan, but has been domesticated in English literature by poets such as Nick Virgilio, Raymond Roseliep, and George Swede.[ citation needed ]
The Irish writer Samuel Beckett is well known for his minimalist plays and prose, as is the Norwegian writer Jon Fosse.
Dimitris Lyacos's With the People from the Bridge , combining elliptical monologues with a pared-down prose narrative is a contemporary example of minimalist playwrighting.
In his novel The Easy Chain , Evan Dara includes a 60-page section written in the style of musical minimalism, in particular inspired by composer Steve Reich. Intending to represent the psychological state (agitation) of the novel's main character, the section's successive lines of text are built on repetitive and developing phrases.[ citation needed ]
The term "minimal music" was derived around 1970 by Michael Nyman from the concept of minimalism, which was earlier applied to the visual arts.More precisely, it was in a 1968 review in The Spectator that Nyman first used the term, to describe a ten-minute piano composition by the Danish composer Henning Christiansen, along with several other unnamed pieces played by Charlotte Moorman and Nam June Paik at the Institute of Contemporary Arts in London.
The term usually is associated with filmmakers such as Robert Bresson, Carl Theodor Dreyer, and Yasujirō Ozu. Their films typically tell a simple story with straightforward camera usage and minimal use of score. Paul Schrader named their kind of cinema: "transcendental cinema". [ citation needed ]Abbas Kiarostami and Elia Suleiman are also considered creators of minimalistic films.
Joshua Fields Millburn, Ryan Nicodemus, and Matt D'Avella directed and produced a movie called Minimalism: A Documentary.that showcased the idea of minimal living in the modern world.
In software and user interface design, minimalism describes the usage of fewer design elements, flat design, fewer options and features, and tendencially less occupied screen space.
One example is the user interface of the Samsung Galaxy S6,where many options and items from menus and settings were pruned.
The update to Android Lollipop removed the shortcuts to "Silent", "Vibration only", and "Sound on" in the stand-by menu.
The Android Lollipop update (late 2014 – 2015) applied to both stock Android and TouchWiz UI devices changes the appearance of the user interface, especially the setting menusof which the use of icons, border lines, edges, and contrast elements have been reduced to a minimum.
Furthermore, the remaining icons have become less skeumorphistic and more abstract, adapting to flat design language.
The density of the elements on the user interface has decreased. There is more whitespace, or unoccupied screen space.
Similar changes happened with the update from iOS 6 to iOS 7.
Furthermore, in 2014, the icons from context menus of Samsung's TouchWiz applications (Samsung Gallery, S Browser, telephone app, etc.) were pruned.
Prior to Samsung's TouchWiz Nature UX 3.0, menu options that are currently unavailable (e.g. "Search for text in page" in the Internet browser during a page load) were shown, but grayed out, which has the advantage of informing the user about their existence but that the option is unavailable. Since then, unavailable options are hidden completely, which makes the context menu occupy less screen space, but it might cause the user to not realize immediately that the feature is unavailable.
Started in Safari browser for iOS and adapted by Samsung's "S Browser",some browsers only show the domain name instead of the full URL, even if there is spare space in the URL bar.
In June 2015, the layout of Instagram's website was fully redesigned to resemble the mobile application and mobile website, pruning many user interface elements, for example, the slideshow banner.
Another example is the Skype redesign[ when? ], where many icons from context menus were removed, colour gradients were replaced with flat colors, and the density of user interface elements was decreased.
To portray global warming to non-scientists, in 2018 British climate scientist Ed Hawkins developed warming stripes graphics that are deliberately devoid of scientific or technical indicia.Hawkins explained that "our visual system will do the interpretation of the stripes without us even thinking about it".
Warming stripe graphics resemble color field paintings in stripping out all distractions and using only color to convey meaning.Color field pioneer artist Barnett Newman said he was "creating images whose reality is self-evident", an ethos that Hawkins is said to have applied to the problem of climate change and leading one commentator to remark that the graphics are "fit for the Museum of Modern Art or the Getty."
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In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature. It is a concept derived from the Buddhist teaching of the three marks of existence, specifically impermanence, suffering and emptiness or absence of self-nature.
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Japanese architecture has been typified by wooden structures, elevated slightly off the ground, with tiled or thatched roofs. Sliding doors (fusuma) were used in place of walls, allowing the internal configuration of a space to be customized for different occasions. People usually sat on cushions or otherwise on the floor, traditionally; chairs and high tables were not widely used until the 20th century. Since the 19th century, however, Japan has incorporated much of Western, modern, and post-modern architecture into construction and design, and is today a leader in cutting-edge architectural design and technology.
Donald Clarence Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. Nevertheless, he is generally considered the leading international exponent of "minimalism," and its most important theoretician through such seminal writings as "Specific Objects" (1964). Judd voices his unorthodox perception of minimalism in Arts Yearbook 8, where he asserts; "The new three dimensional work doesn't constitute a movement, school, or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities."
This is an alphabetical index of articles about aesthetics.
John Ward Pawson is a British architectural designer whose work is known for its minimalist aesthetic.
Japanese aesthetics comprise a set of ancient ideals that include wabi, sabi, and yūgen. These ideals, and others, underpin much of Japanese cultural and aesthetic norms on what is considered tasteful or beautiful. Thus, while seen as a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life. Japanese aesthetics now encompass a variety of ideals; some of these are traditional while others are modern and sometimes influenced by other cultures.
High-tech architecture, also known as Structural Expressionism, is a type of Late Modern architectural style that emerged in the 1970s, incorporating elements of high tech industry and technology into building design. High-tech architecture grew from the modernist style, utilizing new advances in technology and building materials. It emphasizes transparency in design and construction, seeking to communicate the underlying structure and function of a building throughout its interior and exterior. High-tech architecture makes extensive use of steel, glass, and concrete, as these materials were becoming more advanced and available in a wider variety of forms at the time the style was developing.
Modern furniture refers to furniture produced from the late 19th century through the present that is influenced by modernism. Post-World War II ideals of cutting excess, commodification, and practicality of materials in design heavily influenced the aesthetic of the furniture. It was a tremendous departure from all furniture design that had gone before it. There was an opposition to the decorative arts, which included Art Nouveau, Neoclassical, and Victorian styles. Dark or gilded carved wood and richly patterned fabrics gave way to the glittering simplicity and geometry of polished metal. The forms of furniture evolved from visually heavy to visually light. This shift from decorative to minimalist principles of design can be attributed to the introduction of new technology, changes in philosophy, and the influences of the principles of architecture. As Philip Johnson, the founder of the Department of Architecture and Design at the Museum of Modern Art articulates:
"Today industrial design is functionally motivated and follows the same principles as modern architecture: machine-like simplicity, smoothness of surface, avoidance of ornament ... It is perhaps the most fundamental contrast between the two periods of design that in 1900 the Decorative Arts possessed ..."
Space in landscape design refers to theories about the meaning and nature of space as a volume and as an element of design. The concept of space as the fundamental medium of landscape design grew from debates tied to modernism, contemporary art, Asian art and design as seen in the Japanese garden, and architecture.
Systems art is art influenced by cybernetics, and systems theory, that reflects on natural systems, social systems and social signs of the art world itself.
Architectural design values make up an important part of what influences architects and designers when they make their design decisions. However, architects and designers are not always influenced by the same values and intentions. Value and intentions differ between different architectural movements. It also differs between different schools of architecture and schools of design as well as among individual architects and designers.
Applied aesthetics is the application of the branch of philosophy of aesthetics to cultural constructs. In a variety of fields, artifacts are created that have both practical functionality and aesthetic affectation. In some cases, aesthetics is primary, and in others, functionality is primary. At best, the two needs are synergistic, in which "beauty" makes an artifact work better, or in which more functional artifacts are appreciated as aesthetically pleasing. This achievement of form and function, of art and science, of beauty and usefulness, is the primary goal of design, in all of its domains.
Pattern and Decoration was a United States art movement from the mid-1970s to the early 1980s. The movement has sometimes been referred to as "P&D" or as The New Decorativeness. The movement was championed by the gallery owner Holly Solomon. The movement was the subject of a retrospective exhibition at the Hudson River Museum in 2008.
Modular art is art created by joining together standardized units (modules) to form larger, more complex compositions. In some works the units can be subsequently moved, removed and added to – that is, modulated – to create a new work of art, different from the original or ensuing configurations.
Claudio Silvestrin is an Italian architect and designer, and a British citizen.
Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts. As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with this movement include Ad Reinhardt, Nassos Daphnis, Tony Smith, Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Larry Bell, Anne Truitt, Yves Klein and Frank Stella. Artists themselves have sometimes reacted against the label due to the negative implication of the work being simplistic. Minimalism is often interpreted as a reaction to abstract expressionism and a bridge to postminimal art practices.
Modern sculpture is generally considered to have begun with the work of Auguste Rodin, who is seen as the progenitor of modern sculpture. While Rodin did not set out to rebel against the past, he created a new way of building his works. He "dissolved the hard outline of contemporary Neo-Greek academicism, and thereby created a vital synthesis of opacity and transparency, volume and void". Along with a few other artists in the late 19th century who experimented with new artistic visions in sculpture like Edgar Degas and Paul Gauguin, Rodin invented a radical new approach in the creation of sculpture. Modern sculpture, along with all modern art, "arose as part of Western society's attempt to come to terms with the urban, industrial and secular society that emerged during the nineteenth century".
Minimalist photography is a form of photography that is distinguished by extreme, austere simplicity. It emphasizes spareness and focuses solely on the smallest number of objects in the composition process. Minimalist photographers usually focus solely on one particular subject, rather than an abundance of color, patterns and information.
Lever is a 1966 minimalist sculpture by Carl Andre.
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