Me: Welcome back to the show, everyone. Recently, there has been a resurgence of a unique art movement known as "Minimalism." Minimalism, as a few of our viewers might know, was at its pinnacle in the 1960s to the 1980s. But, as of late, it has been weening in the art spotlight. Today, we have two world-renowned artists with me to discuss the art of minimalism. To my left is Mel Bochner, famous conceptual minimalist since the 1970s, and George Brecht, the man behind the famous New York Avante-garde "Three Chairs Event." Gentlemen, thank you for coming onto the show.
(The audience cheers)
Bochner: Thank you for having us.
Brecht: Yes, thank you.
(The two sit down in the smooth, leather chairs in the middle of the studio room. The studio is set up for the Joel Youkhanna Show, an art appreciation and theory talk show, with Joel Youkhanna as the host. The fake walls are lined with various of random artworks, to accentuate the image of the show. The television cameras position themselves to capture Bochner and Brecht, as they sit in their mahogany-colored chairs. Joel smiles at the two artists, tapping his papers on his desk.)
Joel: So, gentlemen, we are here today to find show the works of a few minimalist artist's works. For the sake of those without a art history degree, what is Minimalist art, and how would minimalist art differentiate itself from other forms?
Bochner: Well, Joel, Minimalism is exactly what it sounds like. It is a style of art where the work is stripped down to its most fundamental features. Minimalist art only uses what is necessary, and that's it.
Joel: So, for a minimalist piece... less is more?
(Bochner and Brecht laugh)
Brecht: Essentially, yes. A good example of minimalism would be an argument that proponents of “intelligent design” like to use called “Irreducible complexity”. Irreducible complexity is the theory that a single system which is composed of several parts that form to a basic “machine,” where the removal of any one of the parts causes the system to fail. Minimalism art is similar to that. We try to produce art that is reduced down to its core principle and idea.
Joel: Well, the reason why I asked, is to lead to a piece of yours, Mr. Bochner.
(Joel lifts up a picture of Mel Bochner's “Minimalist Art- The Movie.” It is a picture of a torn piece of notebook paper, with various minimalist artists linked to specific movie actors and actresses)
Bochner: Ahh haha, yeah. That was a little idea I had in 1966. I thought about who I would want to have each actor play as a specific person.
Joel: With his star studded cast, I would LOVE to see this movie, I mean, your movie idea has nearly every famous actor and actress of the time; Sean Connery, Frank Sinatra, Elsa Martinelli. The one connection I found was interesting was you, Mr. Bochner, being played by Peter Fonda.
(The back video projection screen reveals the pictures of Peter Fonda and Mel Bochner, side by side, as the two pictures go transparent overlapping each other, as the audience cheers for Bochner)
Joel: Now, you don't have the sideburns (Audience laughs), but you do have a pretty close similarity going on look-wise with Peter Fonda. Was that your main motivation, or do you have another connection to the actor?
Bochner: Well, I have always loved what Peter Fonda stood for, in terms of his morals and standards. He was the nonconformist, the rebel, the inner desire of speaking out for what is right. Hell, I think it was only a few months apart when I had my “Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art”exhibit, as he was being arrested for the Sunset Strip riots in the summer of 1966. I always admired his strength and convictions. I also happen to be jealous of those sideburns as well. (Audience laughs)
Brecht: Haha, well, what I found interesting was that you put Sean Connery in the role of Donald Judd. Donald Judd would have killed us for calling him an “artist.” Although, I don't doubt that Sir Connery would do a remarkable job.
Joel: Any man who can play 007 like Sean Connery could do any role. Now, was this idea something you actually wanted to pursue, or just an idea of fancy?
(Bochner laughs)
Bochner: Oh no no. I had never thought, or even attempted beyond the writing of that paper, to continue that idea. But, in my mind, I could see how it would play out. In the movie, I would have all of the artists doing their separate projects for a large minimalist show, but having it canceled right at the last minute. The artist would then get together against the funding committee, and challenge how Minimalist art was just as influential and important as any other art style. But, I am decently not some big-shot director or anything. Cecil B. DeMille, I am not (Audience laughs).
Joel: Well, Brecht could do the soundtrack for you.
Brecht: Well, maybe. But my style of music mostly focus more avant-garde if anything. I did a few things with with violins back with the “Flute Solo” performance, but my music would be more background sounds anyway. So, if you want me, put me as your background sound mixer, or something.
Joel: Well, that is all the time we have for tonight. Again, thank you both for coming onto the show.
Brecht: It was a pleasure.
Bochner: Definetly.
Joel: And thank you, America, for joining me tonight in understanding the works of Mel Bochner. Tune in next week, as we analyze Video games, and how the growth of the industry will eventually lead to the beginning of video game “high art.” This is Joel Youkhanna, saying “Good night.”
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