PRINT September 1972

Rosenquist and Samaras: The Obsessive Image and Post-Minimalism

DURING THE MINIMALIST PHASE of the art of the last decade sculptural form tended towards a simple expression of planar shapes. Often, when projected spatially, such forms satisfied an architectural condition while answering a pictorial ambition. In this way, painting, sculpture, and architecture tended to coalesce. It is the work of Frank Stella more than any other painter that provides the paradigm.

Until about 1968 painting was assumed to be an enterprise which was executed on a canvas surface, a surface stretched or tautly supported. In many instances, this requirement of a hard surface was met by employing a smooth panel or, occasionally, a wall. Subsequently, painting gradually lost its exclusively drum-taut nature. Just as the Minimalists questioned what constituted a composition (often answering this query in terms of unitary monochromatic images), so the canvas support changed and

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