In the late 1940’s and early ’50’s artists painting in a non-representational manner had no language or means of conveying what they were doing. The intention was to create paintings of substance while eliminating pictorial space and figure/ground relationships. The problem being that not much could be said about what one was doing and what sort of meaning such work might have.
The result of these concerns was a move toward extreme minimalism, appreciation lying, I guess, in a Zen-like meditation on an essentially monochrome canvas. The artist Robert Irwin contemplated this orange painting for weeks moving one or the other horizontal lines up or down fractions of an inch.
Curious to consider how to interpret such a personal activity. No wonder, I suppose, why such concerns confound the viewing public and remain an esoteric interest at best.
