Statements: Beuys, Flavin, Judd

At first glance, it might be hard to find a common thread between these three artists, other than hastily applying a "Minimalism" tag to their work or noting that the bulk of their work came out of the 1960s and '70s. Joseph Bueys often worked with felt and manipulated found objects, constructing what he termed "multiples"—many copies of the same work. Interestingly, the German-born artist and political activist also found inspiration traveling through Minnesota: While dining at Nye's Polonaise Room in Minneapolis he became intrigued with some sugar packets at the table emblazoned with a unique hare and stag design. Later, this found art would be incorporated into some of his multiples. While many a shopper has cursed the fluorescent light while trying on clothing in a department-store dressing room, Dan Flavin used the generically modern light source to create industrial, post-modern sculptures. You may never look at a dimly lit stairwell or poorly placed light fixture the same way again. Donald Judd is perhaps the most challenging of the three: His steel, aluminum, Plexiglas, and iron sculptures form boxes and plates strategically placed on walls. Some might say his work is a metaphor for the cold dissonance and alienation of modernity, others might just see a blue steel box. Regardless, the piece will probably lead to a heated debate on the nature of art afterward over coffee. But here's a hint: When viewing all three artists' work, it is probably more beneficial to contemplate content rather than fixating on form. These works force the viewer to re-examine preconceived notions of what constitutes art, what exactly is art's function, and what art is about in ways that are still considered revolutionary today.
May 15-July 12, 2008