In the first part of the book, "Paint", Edward Strickland shows how Minimalists rethought abstract art -- with non-gestural color-field painting, "invisible" and brilliant monochromes, and neo-Dadaist anti-art of pure white panels.
In the second part, "Sound", the author turns his attention to La Monte Young's long-tone compositions and drone works of the Theatre of Eternal Music, the effect of foreign and nonclassical American musics on Terry Riley's motoric repetition, Steve Reich's formulation of phasing technique, and Philip Glass's unison modules.
In "Space", Strickland looks at Minimal sculpture and its critical reception. He then discusses Minimalist tendencies in dance, film, and literature, as well as the incorporation of once-shocking Minimalist vocabulary into mass culture, from fashion to advertising.
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