Process art

, Tate Liverpool Process art is an artistic movement where the end product of art and craft, the objet d’art (work of art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as humans partnering with intrinsic material expression. Process art is primarily interested in demonstrating forces on matter and defends the idea that the process of creating the work of art can be an art piece itself. Artist Robert Morris refers to the artistic approach as “anti-form”, meaning there is no inherent relation to the physical object.

, Tate Liverpool]] Process art is an artistic movement where the end product of art and craft, the objet d’art (work of art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as humans partnering with intrinsic material expression. Process art is primarily interested in demonstrating forces on matter and defends the idea that the process of creating the work of art can be an art piece itself. Artist Robert Morris refers to the artistic approach as “anti-form”, meaning there is no inherent relation to the physical object. ==History & Movement== Process art has been marked as a creative movement in the United States and Europe in the mid-1960s, formed in response to Minimalist art. In general, process artists rejected the idea of a simple, finished piece, and focused more on the artistic process itself. One of its primary influences was Jackson Pollock’s drip painting technique, which involved flinging paint onto a horizontal surface, covering the entire canvas and using the full force of his body to paint. Privileging such instances of indeterminacy in pursuit of change and transience, Process artists also draw influence from performance art and the Dada movement. In 1968, Robert Morris had a groundbreaking exhibition in the Guggenheim Museum, which accompanied an essay defining process art. The Museum website states: 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. The process art movement and the environmental art movement are directly related. As written on the Art and Culture website: Process Artists engage the primacy of organic systems, using perishable, insubstantial, and transitory materials such as dead rabbits, steam, fat, ice, cereal, sawdust, and grass. The materials are often left exposed to natural forces: gravity, time, weather, temperature, etc. In process art, as in the Arte Povera movement, nature itself is lauded as art; the symbolization and representation of nature, often rejected. ===Relationship to other disciplines and movements=== Process art shares fundamental features with a number of other fields, including the expressive therapies and transformative arts, both of which pivot around how the creative process of engaging in artistic activities can precipitate personal insight, individual healing, and social change, independent of the perceived value attributed to the object of creation. Additionally, process art is integral to arts-based research, which uses creative process and artistic expression to investigate subjects that resist description or representation through other modes of inquiry. ==References== ==Further reading== Wheeler, D. (1991). Art Since the Midcentury: 1945 to the Present. Robert Morris (1993). Continuous Project Altered Daily: The Writings of Robert Morris Wayne V. Andersen (1975. American Sculpture in Process: 1930-1970. Boston, MA: Little, Brown & Co. Rosalind E, Krauss, ed. Richard Serra / Sculpture (1986). New York: The Museum of Modern Art Anne Rorimer (2004) New Art in the 60s and 70s: Redefining Reality. London: Thames & Hudson

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