著者

辰巳 晃伸

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.52, no.1, pp.56-69, 2001

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Postminimalism, in the narrow sense, means the art by the generation next to minimalist artists, such as Eva Hesse and Richard Serra, who were representative artists at that time, and in the broad sense, it means "a series of art movements in the decade from 1965 to 1975, " which indicates the coinstantaneous developments of the time, including process art, earthworks, conceptual art, performance, and installations. Postminimalism, as well as minimalism, seems to correspond to the turning point from modernism to postmodernism, and therefore, seems to be one of the important clues, when we consider the argument about art and sites, such as current installations and public art. Arthur Danto, in his essay "Postminimalist Sculpture, " found the end of modern art in these works. The object made of daily and ephemeral materials, or the "dematerialized" work as an idea or a plan itself, for instance, as the object approaches zero, the environment or space where it stands is emphasized all the more, and in the end, art replaces the reality itself. However, I wonder if it is not until viewers participation in the empty space that postminimalist art takes shape, and we could find the potentialities of art in the setting and presentation of such devices.