PRINT December 2004

Pamela M. Lee

1 “A Minimal Future? Art as Object, 1958–1968” (Museum of Contemporary Art, Los Angeles) With massive, awe-inspiring cubes by the likes of such stalwarts as Tony Smith and Donald Judd, Ann Goldstein’s expansive exhibition of Minimalist sculpture and painting gave new meaning to the museum “blockbuster.” Yet who knew how funny, lush, and downright weird much of this supposedly austere work really is, as in the extraterrestrial-meets-surfer aesthetics of John McCracken’s gorgeous vermilion plinths?

2 The Bontecou Effect This year saw a spate of important retrospectives by women artists (Lee Bontecou, Yvonne Rainer, Joan Jonas) who came of age in the ’60s and early ’70s. Great news for all of us. But widespread response to Bontecou’s traveling exhibition, however positive, highlighted a troubling phenomenon I call the “Bontecou Effect”: when a female artist “of a certain age” is considered by

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