Post-minimalism and the experience of the spectator

'Simplicity of shape does not necessarily equate with simplicity of experience.' (Morris, 1966, p.228) <br> This research questioned the effect material, process and form have on the spectator’s experience of post-minimalist sculpture. The intention was to justify and expand upon the sentiments of Robert Morris’ statement, to draw out the complexities of experience hidden behind the visually restrained outer shell of post-minimalism. Post-minimalism refers to the often-sculptural works of the late 1960’s-70’s, which developed and rejected the rigidity of minimalism. Eva Hesse and Richard Tuttle produced works that focused on materiality and process; forms were often ambiguous or indeterminate, resulting in an ‘open’ interpretive experience for the viewer. <br> It has been argued that post-minimalist sculpture encourages a more ‘open’ interpretive experience due to its supposed ‘simplicity’. In post-minimalism the artist is deemphasized in favour of the give and take between artwork and spectator at the work’s reception. This encounter, as an actual experience, is influenced by all aspects of the exhibition, both internal and external to the work itself. Post-minimalism offers stimuli to the spectator that are visually restrained or subtle, yet far from devoid of visual and conceptual interest. This practice-based research explores the relationship between the spectator and the post-minimalist work of art to unpack nuances of the encounter that have the potential to deeply impact experience. <br> The research sits at the intersection of the theory and practice of post-minimalism within art history and hermeneutics – the understanding of interpretation within philosophical aesthetics. The construction of new artworks, exhibited and used as a catalyst for aesthetic analysis and participant feedback, brings post-minimalism into a recent and contemporary discussion. The value of material, process, and form is revealed through ‘blankness’, ‘making space’, ambiguity, and ‘openness’, facilitating a profound experience for the spectator.