Systems art

The term Systematic art was coined by Lawrence Alloway in 1966 to describe the method that artists such as Kenneth Noland, Al Held, and Frank Stella were using to compose abstract paintings.

In the late 1960s, the term postminimalism was coined by Robert Pincus-Witten[3] to describe minimalist-derived art that incorporated content and contextual overtones that minimalism had rejected.

Minimalists like Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken, and others continued to produce their late modernist paintings and sculptures for the remainder of their careers.

Audio feedback, tape loops, sound synthesis, and computer-generated compositions reflect a cybernetic awareness of information, systems, and cycles.

For example, Steina and Woody Vasulka used "all manner and combination of audio and video signals to generate electronic feedback in their respective media.

"[4] Related work by Edward Ihnatowicz, Wen-Ying Tsai, cybernetician Gordon Pask, and the animist kinetics of Robert Breer and Jean Tinguely contributed to a strain of cybernetic art in the 1960s that was concerned with the shared circuits within and between the living and the technological.

Sonia Landy Sheridan established the Generative Systems program at the School of the Art Institute of Chicago in 1970 in response to social changes brought about in part by the computer-robot communications revolution.

Generative Systems artists sought to bridge the gap between elite and novice by facilitating communication between the two, thus disseminating first-generation information to a broader audience and bypassing traditional commercial routes.

The museum's website notes that "Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex.

Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition".

[10] Systemic Painting, according to Auping (1989), "was the title of a highly influential exhibition at the Guggenheim Museum in 1966 assembled and introduction written by Lawrence Alloway as curator.