TABLE OF CONTENTS

IMAGE STRUCTURES: PHOTOGRAPHY AND SCULPTURE

STEPPING OVER CARL ANDRE’S work, visitors to last year’s Minimalism survey at the Museum of Contemporary Art, Los Angeles, soon came across three helpings of art porn. First was a projection of slides taken in 1966 by Dan Graham for his seminal Homes for America; then there was Mel Bochner’s 36 Photographs and 12 Diagrams of the same year; and, finally, there were installation shots of Robert Grosvenor’s 1968 Haags Gemeentemuseum show. Graham used photography to document minimal forms and serial arrangements in suburbia, and Bochner employed the camera to fix any one arrangement of a constantly changing sequence of wooden blocks. Grosvenor, by contrast, used the camera simply to document his work. He was an old-school sculptor, building large structures that intruded on the viewer’s space. The Dutch installation shots were not really his in the way that Graham’s and Bochner’s contributions

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