title: Typology of Minimalism in the 1950–1960s. The Conceptual, Technological, and Material
metadata.name: dc.contributor.author
metadata.value: Bobrikov, Alexey A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2019-12-12T10:13:17Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2019-12-12T10:13:17Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Bobrikov, Alexey. “Typology of Minimalism in the 1950–1960s. The Conceptual, Technological, and Material”. Vestnik of Saint Petersburg University. Arts 9, no. 3 (2019): 524–557.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2019.306
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/16815
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: In this article the possible principle of typologization of one of the main trends of modern art
  of the 1950s–1960s, minimalism, is considered for the first time. The basis of this principle is
  the relationship between structure and material. In accordance with this approach, minimalism
  can be divided into the conceptual (the material principle tends to disappear), the technical
  (the material is subordinated to the structure) and the material, the physical, the corporeal
  (the material dominates the structure). This approach is considered throughout the history of
  minimalism from Ellsworth Kelly to Eva Hesse. The novelty of the approach lies in the choice
  of the very principle of typologization: in the opposition of structure as a speculative concept
  to a material with oppositely directed — anti-structural — properties (a kind of ability to
  resist); in a broader context — the mind and the natural principle as philosophical categories.
  Their interrelationships, which change in the course of evolution, can be viewed as the driving
  force behind the development of minimalism (an art that possesses utmost abstractness and
  therefore is difficult to explain by traditional description and systematization). In addition,
  the history of minimalism, usually considered in the scientific literature within the 1960s, in
  this case begins in 1951 (from early Kelly, Morellet, Molnár), which reveals the earliest — conceptual
  — type of minimalism as a separate phenomenon that introduces the problem of the
  confrontation of two multidirectional principles.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of Saint Petersburg University. Arts;Volume 9; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: modernism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: minimalism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: conceptualism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: structure
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Ellsworth Kelly
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Donald Judd
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Eva Hesse
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Typology of Minimalism in the 1950–1960s. The Conceptual, Technological, and Material
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 524-557.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/16815/1/524-557.pdf
resources.format: Adobe PDF
resources.size: 3,89 MB