Cover image for Minimalism
Meyer, James.
Personal Author:
Publication Information:
London : Phaidon, 2000.
Physical Description:
304 pages : illustrations (some color) ; 30 cm.
Subject Term:
Format :


Call Number
Material Type
Home Location
Item Holds
N6494.M5 M49 2000 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



This beautifully illustrated book is internationally recognized as the most definitive survey of Minimalism, among the most influential movements in late twentieth-century art.

Author Notes

James Meyer is a writer and art historian who has been teaching contemporary art and critical theory at Emory University, Atlanta, since 1994. He is a noted specialist and lecturer in Minimalism, as well as other forms of American art of the 1960s, and contemporary forms of institutional critique.

Meyer has written extensively on Minimal artists. Publications include Minimalism: Art and Polemics in the 1960s (Yale, 2001); he has contributed essays to Mel Bochner: Thought Made Visible 1966-1973 (Yale, 1995); Ellsworth Kelly: Sculpture for a Large Wall, 1957 (Matthew Marks Gallery, 1998); Eva Hesse: A Retrospective , ed. Elisabeth Sussman (San Francisco Museum of Modern Art, 2002); Conceptual Art: Theory, Myth, Practice (Cambridge, 2004) and A Minimal Future (Museum of Contemporary Art, Los Angeles, 2004). He is the editor of Carl André, Cuts=Texts, 1999-2004 (MIT Press, 2005) and has contributed to journals Artforum , Art Magazine , Flash Art and Parkett.

Reviews 1

Library Journal Review

Works and words by the once-maligned Minimalists Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, and Robert Morris are memorialized in this overdue survey, which updates and surpasses Gregory Battcock's popular Minimal Art: A Critical Anthology (1968; Univ. of California, 1995. reprint). First, Meyer (art and critical theory, Emory Univ.) surveys Minimalist sculpture, neon tubes, and geometric patterns created from 1959 onward. Works by two dozen Minimalists are then presented in 300 color and black-and-white reproductions on high-quality paper; the captions are informative, and the book's design and typography are attractive. The last third of the book, called "Documents," offers excerpts of texts and interviews by critics, theorists, historians, and artists themselves, followed by biographies of various participants. Like other volumes in Phaidon's substantial "Themes and Movements" series, this is recommended for the range of the art presented and its well-rounded compilation of complementary texts. Russell T. Clement, Northwestern Univ. Lib., Evanston, IL (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.