In Dorthe Nors’s minimalist fiction, other people are both an opportunity and a threat.
Carson’s geometric paintings, inspired by the land of big sky, mimic rolling hills and valleys.
In The Longing for Less author Kyle Chayka searches for a minimalist mindset that isn’t “obsessing over possessions or the lack thereof but challenging our day-to-day experience of being in the world.”
Within the many intersections between cinema and minimalism, there’s a fascinating thread of nonfiction filmmakers depicting air travel.
An aesthetic of minimalism in architecture and interior design has been sold to consumers of high design for decades now in the pages of Dwell and the endlessly scrollable interfaces of websites like designboom and ArchDaily.
The stereotype of Japan as a “less-is-more” kind of country is, in fact, quite misleading.
Kyle Chayka’s new book, The Longing for Less: Living with Minimalism, probes the corporate world’s love of minimalist design and what it might mean.
Today 87 years old, Radigue worked within the tradition of La Monte Young and John Cage in the 1960s and ’70s, moving between Paris and New York City.
Art critic Barry Schwabsky’s new book presents a global survey of contemporary landscape painting.
Strangely, of the three works visitors are most likely to bump into first after entering the National Gallery Singapore to view its show on Minimalism, none of them feel explicitly Minimalist.
HONG KONG — Rasheed Araeen is a Pakistan-born, Britain-based, self-described “Afro-Asian” artist whose art and writing are so wildly subversive, it’s taken 40 years for the critical dialogue to catch up to his tremendously prescient but fractious vision.
The term Dansaekhwa, or “monochrome painting,” may elude readers unfamiliar with Korean, but it represents arguably Korea’s most important art movement of the late 20th century