I unfortunately missed last weeks lecture on minimalism, but was able to see some of the pieces that were discussed whilst on the trip to London. We first visited Tate Modern and then Tate Britain, exploring the difference between viewing a piece within a gallery space compared to looking at a photograph of it. The seminar we had was focused on the minimalist pieces in the Tate Modern, and it was really interesting to see these pieces close up – exploring the smaller details that can’t be reproduced through photographs, and being able to move around the pieces.
The two pieces that stood out to me the most were:
Donald Judd, Untitled
In this piece the red enamel base is reflected from sides – creating a new colour property for the inside of the copper box. I find it to be a really enticing piece, the reflective qualities of the copper changes our perception of the size of the inside of the box. The colour glows out of the box, with the inside looking larger than the outside – as though the inside isn’t limited by the walls of the box.
Richard Serra, Trip Hammer
This piece stood out to me as a comment on faith and trust, especially within a professional, institutional context. This large piece towers intimidatingly above those viewing it, a lot of trust is put on the balance and propping of these two sheets against one another and then against the wall. In my mind, whilst viewing it, the fact that we were in a gallery somehow put my mind at ease – for example the knowledge of the importance of health and safety in an institution such as the Tate, allows a sense of trust in the stability of an assemblage that would otherwise be something to be weary of.