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A totally abstract, non-figurative style of the 1960's that utilizes geometric shapes in different constellations. This is the perfect opposite to the metaphysical endeavors of the 40's and 50's. The nature of the materials in use decide the nature of the work; stone or wood or paint all have their own intrinsic qualities, and this is the artist's goal- to bring theses qualities to the viewers attention. The artist is a vehicle for information, he presents us with an impartial set of ordinances, and it is up to us to give this information meaning. 'Meaning' is therefore something that is attached to art, and not arts consequence. Delicate complexities and nuances can be conveyed with seemingly direct models of sculpture, or clean geometric compositions on canvas. There is enormous importance to the size of the work, its placement in the room, its background and the point of perspective from which we view it. The work itself is simply one piece of a puzzle and so each element that comes into the viewing process is truly significant. The balance of shapes within the work, the tension between color, shape and space- are all designed to make the viewers rethink their ideas of perception.

This development of inclusive abstract and conceptuality led to total objectivity. The American sculptors Tony Smith, Robert Morris and Karl Andre all experimented in 'pure' shapes, on a monumental scale. Morris remained zealously faithful to making his concepts and special theories tangible without any consideration for the outcome, and indeed the results were both weird and diverse. Smith mixed materials and used the contrast between them to make his point; interlacing wood, rope, fiberglass and various other materials. Andre, who was also a poet, did installation projects that showed only minimal attention to the visual effect of the work; a kind of sculpture that could move from one exhibition- site to the next, a piece that changed meaning as it changed settings.

Sol Le Witt and Donald Judd also fall into this category, both of them attempting to create art with mathematical precision. Le Witt would array his work to an equation of modular, architectural severity. He was especially fond of the serial cycles of classical music; the notion of minute variations on a theme- all conveying the belief that pure conceptuality could achieve an almost mystical truth. Judd endeavored to make “sublime structures”- shapes that held no meaning in and of themselves, but were significant in relation to each other. A stable ratio of shapes and the spaces between them, like the reading of musical notes on a page.

Found 5 art galleries where you can explore and buy art.

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 GalleryToday.com Online Gallery 
 Hampel-Auctions.com  , Munich, Germany 
 Chicago Contemporary Art Online Gallery 
 M Sebastian H Artist Gallery 
 Studio 68 - Section 6 Online Gallery 

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