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

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the February 2005 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.