On April 28, 1966, The New York Times published a review of the "Primary Structures" exhibition at the Jewish Museum, penned by Hilton Kramer, a critic known for his skepticism towards contemporary art. He expressed disdain for the featured works, noting that the 42 participating American and British artists seemed indifferent to personal expression, stating, "Here are 42 American and British artists who care nothing for the personal touch, the subjective inflection, the private vocabulary."
Kramer acknowledged, however, that the exhibition, curated by the esteemed Kynaston McShine, provided a significant insight into a style that was poised to define the era. He predicted, "We are going to see a good many more of these 'Primary Structures' before the nineteen-sixties have come to an end."
"Primary Structures" is now recognized as a pivotal moment in the rise of Minimalism, a term that many artists later rejected. This movement not only influenced art but also extended its reach into architecture, fashion, and design, becoming synonymous with simplicity and reduction. As we approach the exhibition's 60th anniversary, it invites reflection on the mid-century art scene that fostered it.
During this period, the art world was relatively small, and the prevailing belief was that innovative art was tied to specific locales, such as Paris in the 19th century or New York in the 20th. This narrative suggested that art history was a succession of cutting-edge styles, each replacing the last, making Minimalism a logical endpoint of modernism.
"Primary Structures" showcased emerging talents who would later become icons of 1960s art, including Americans like Carl Andre, Donald Judd, and Sol LeWitt, alongside British artists like Philip King and Michael Bolus. Interestingly, McShine refrained from using the term Minimalism, preferring to let the works speak for themselves.
While the artists drew inspiration from earlier movements, their objectives differed significantly. For instance, Kazimir Malevich and Piet Mondrian viewed their works as spiritual expressions, while Judd's concept of the "specific object" emphasized art's physical presence in three-dimensional space, rejecting traditional painting as illusionistic.
Judd's approach, which involved having his works fabricated by others, highlighted a distinctly American ethos of innovation and practicality. McShine, however, embraced a broader perspective, including artists like Anthony Caro, whose sculptures reflected a pictorial quality derived from earlier influences.
Upon its debut, "Primary Structures" was celebrated for its departure from tradition, signaling a transformation in the artist's role from creator to designer. Many featured works, including Judd's, retained a vibrant graphic quality typically associated with two-dimensional art.
Ultimately, the exhibition was closely tied to its venue, the Jewish Museum, which played a critical role in contemporary art during a time marked by groundbreaking retrospectives. Despite the mixed reviews, Kramer acknowledged that "Primary Structures" showcased the emergence of a new sculptural aesthetic, signifying the importance of innovative ideas in art.