Minimalism (2024)

Minimalism, Put Simply

Minimalism is often associated with a sparse white room, accompanied by a bare arrangement of furniture and a mysterious source of natural light. At least, that’s what Google Images seems to think. Popular culture has attached the idea of minimalism to short-lived, click-bait trends: “living with 100 items,” “capsule wardrobes,” tiny home living, and monochromatic home design. At face value, minimalism appears to dictate an austere life at worst and is relegated to the status of an avant-garde bedroom aesthetic at best. Yet, it has great potential to permeate other aspects of our lives.

Minimalism’s main priority seems to be cleanliness. During the pandemic, Marie Kondo’s method of asking “Does this spark joy?” became the slogan of the minimalist movement as one primarily went about decluttering their life. The idea behind this is that our rooms are a reflection of our headspace. By reducing clutter, we become more open to questioning our beliefs and envisioning opportunities for personal growth. Surrounding ourselves with material possessions often leaves us dissatisfied after a short period of time, and an empty, discontented feeling returns a week after the dopamine spike of an online purchase. Thus, the goal of minimalism is to prioritize things that add value and meaning to our energy, time, and space (intentionally). While minimalism has been most often understood as a lifestyle, it begs deeper questions about the human condition in art, literature, philosophy, and modern economic systems.

Minimalism in Art

Minimalism in the era of contemporary art has often been misunderstood or dismissed because people are too quick to interpret simplicity as laziness. However, by stripping art down to its bare elements, we can find extraordinary meaning in the ordinary. Minimalism emerged as an art movement beginning in the 1950s. The overarching aesthetic themes of minimalist art call for purifying beauty, finding fundamental truths in objects, and reducing art to necessary elements. Minimalist art, like conceptual art, challenges existing structures for making, disseminating, and viewing art. Using techniques that emphasize the rawness of the artistic product, minimalist art makes no attempt to represent an outside reality. In the wise words of minimalist painter Frank Stella, “What you see is what you see.”

Minimalist art often has a bleak, utilitarian ambiance. Indeed, the term ‘minimalist’ in an artistic sense was first used to describe Soviet painter Kazimir Malevich’s composition Black Square, which many historians, artists, and critics denote as the “zero point of painting“—the first time a painting wasn’t of something, but an end in itself. The work was meant to evoke “the experience of pure non-objectivity in the white emptiness of a liberated nothing.” The essential and minimal use of non-forms and colors forces viewers to engage with the painting as it is and not a metaphor or representation of something else.

Malevich’s White on White continues the artist’s minimalist motif by depicting a white square floating weightlessly in a white field. The painting works with subtle variations of whites, slight asymmetrical geometrical shapes, and imprecise lines to create a space without limits and a feeling of liberation: “Swim in the white free abyss, infinity is before you.” Malevich believed that white was the color of infinity and best portrayed a utopian world. Thus, his art aimed to signify the supremacy of pure feeling or perception which ought to have nothing in common with nature as we know it.

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Minimalism’s simplicity is not limited to traditional canvas art. Dick Higgins’ 1966 Statement on Intermedia articulates the underlying cultural phenomenon of the transforming mentality towards art and its purpose. Higgins writes that “art is one of the ways that people communicate,” but the complexities of developments in television, radio, and media have given us a “taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point.” We crave “a new way of looking at things.” We crave art that allows for “immediacy, with a minimum of distractions.” Thus, artistic mediums have “broken down in their traditional forms, and have become merely puristic points of reference.”

One film has incorporated minimalism to powerfully articulate a theme. 2001: A Space Odyssey, a revolutionary 20th-century film, grapples with important questions about human evolution and technological corruption through abstract sounds and images. Out of two hours of film, there are only forty minutes of dialogue. Yet, the silent scenes speak to our instincts and emotions more than a script ever could. Kubrick himself assured that the film was not meant to have one “correct” interpretation but rather encouraged audiences to embrace confusion from the film’s ambiguity and explore their unique relationship with the film. Because the film uses a minimalist style with subliminal themes, viewers must not revert to preconceived notions about the sci-fi genre but derive meaning from what seems to be nothing. This challenges people to actively analyze art and appreciate an artist’s intention rather than what’s literally on the canvas (or the screen).

A particularly interesting example of this is Jonathan Muecke’s Objects in Sculpture exhibition, which challenges spatial expectations with simple yet uncanny objects devoid of particular details. From a rock with holes to a multi-tiered wooden zigzag, Muecke explores and tests the relationships among form, material, and perception. Muecke grapples with questions: “Does color have shape? What is the texture of scale? Can a surface be eliminated?” Audiences are pushed beyond the limits of perception and cannot come to a definite conclusion about what they are viewing. Each object, both enigmatic and familiar, presents a difficult intellectual exercise that blurs the line between art and philosophy. While Muecke’s work seems to fit the qualities of minimalist art, Muecke himself argues that his objects are not minimalist, but maximums, testing the limits of legibility and perception. Nevertheless, Objects in Sculpture is a physical manifestation of philosophy; it deconstructs basic principles by raising questions and challenging assumptions. Muecke’s description stimulates a Socratic dialogue between the objects and the viewer:

Q: Is this a structure?

A: It is a complete surface.

Q: What is this object?

A: It is an experiment, an outcome.

Q: Is it strong?

A: It is soft. It does not know what it wants to be. It requires input.

Q: What shape is this?

A: The shape is obscure. The horizontal is clear.

Minimalism in Literature

Just like the artistic minimalism movement was in some ways a response to intense, expressionist art, minimalism in literature can be viewed as a response to pseudo-intellectualist prose — which is often verbose and maximalist — and a preference for works that convey powerful, sophisticated ideas succinctly. Literary minimalism is characterized by an economical use of words, allowing context to dictate meaning instead of extensive or explicit descriptions. Readers actively participate in the literature, engaging in oblique hints and innuendos rather than passively absorbing the writer’s intentions.

Yet some individuals, myself included, unconsciously subscribe to the belief that complex writing automatically signifies insightful ideas and that insightful ideas necessitate complex language. Yet, overelaborate sentences, multisyllabic buzzwords, and purple prose often obscure a writer’s true meaning. Relying solely on verbal complexity can contribute to literary spaces that are inaccessible, elitist, and perhaps even suffocating. The hyperconscious attempt to inject complexity into writing can often conflate verbosity with meaning. One says a lot of something that means nothing.

Minimalism, instead, allows us to appreciate deceptively simple works that ponder the fundamental truths of the human condition. Authors like Hemingway practiced minimalism in style, epitomized by his six-word story: “For sale: baby shoes, never worn.” The vagueness and uncertainty of Hemingway’s story only underscore the inarticulate nature of grief which is often an all-encompassing and undefined pain that cannot be captured by any definitive emotional boundary; to do so would be an incomplete rendering of one’s emotional experience. On the other hand, thinkers like Henry David Thoreau examined minimalism in principle. As a transcendentalist, Thoreau examined the swath of daily temptations to underscore the discipline needed to live deliberately. While we may be tempted to follow those who seem to always be in an inexplicable rush, living deliberately requires a disconnect from the natural tendency to gravitate toward society. In Walden, Thoreau remarks, “Be it life or death, we crave only reality,” an enchanting statement that suggests the basic human desire for a meaningful and simple life can be achieved through self-awareness and living consciously.

Studying literature and art through a minimalist lens will reveal that complexity doesn’t necessarily rely on rhetorical eloquence or manufactured profundity — the human experience is inherently complex. Effectively conveying a thoughtful connection requires a bridge, not a chasm, of words.

Minimalism in Philosophies

Though minimalism itself is not an official school of thought, fundamental aspects of minimalism are deeply rooted in philosophies. A recurring pattern throughout history is the ascetic, minimal lifestyle of religious leaders such as Jesus, Buddha, and Muhammad. The important lesson is that minimalism transcends its roles as a trendy contemporary aesthetic or a method of artistic expression; it is deeply relevant to us and can become the framework by which we derive meaning in our lives. By appreciating details and seeking meaning in the quotidian, our interactions became more enriching and genuine. The simple act of reframing our mentality towards thoughtfulness can lead us to understand the world on a fundamentally deeper level.

Minimalism in Scientific Philosophy

Minimalism is not merely a matter of art or aesthetics; it is used in empirical research. While modern science seems to become more complex and hyper-specialized (like fractal growth), simplicity provides bedrock criteria for choosing between competing hypotheses. In the words of Richard Feynman, “Truth always turns out to be simpler than thought.” Occam’s Razor, an epistemic principle, relies on simplicity as a form of intellectual elegance. In other words, simpler explanations are generally better than more complex ones. In scientific methodology, the “razor” suggests scientific explanations should “cut away unnecessary ‘fat’ from a carcass” to maintain the integrity of an initial hypothesis. While the merits of Occam’s Razor are still subject to heated debate among mathematicians, statisticians, and philosophers alike, the principle is still relevant in academia; from testing algorithmic information models to analyzing geodynamic tectonic theories to predicting genetic patterns. Adopting the tenets of minimalism can not only help us grasp the entropy of natural phenomena, but existence itself.

Minimalism in Zen Buddhism

A philosophy that aligns with minimalism is the traditional culture of Japanese Zen Buddhism. Japanese temples and residences incorporate rock gardens and natural materials in a seamless blend of culture and environment. The Japanese philosophy of wabi-sabi emphasizes the quality of simple and plain objects and is oriented towards a life of quietness. Simplicity has not only aesthetic value, but also a moral perception of the nature of truth and freedom. Traditional gardens consisting of a few stones resting within waves of sand demonstrate spatial arrangements that simultaneously emphasize emptiness and essence.

Minimalism in Stoicism

A more Western approach to minimalism surfaces in the ancient Greek philosophy of Stoicism. In Stoicism, rationality is the principle, wisdom is the means, and happiness is the end. A key pillar of Stoicism is learning to appreciate what we have and to be truly grateful for their presence. In doing so, Stoics aim to overcome the never-ending cycle of desire and dissatisfaction. Moreover, Stoics believe that emotional resilience, even indifference, in the face of fortune and misfortune is critical to achieving happiness. Because “philosophy does not promise to secure anything external for man,” Stoics accept circ*mstances outside of their control and control only what can be controlled. Thus, the best life is one that practices the four virtues: wisdom, courage, temperance, and justice. Only by dedicating one’s life to these virtues can a Stoic reach an autonomous life in harmony with nature.

Minimalism in Consumer Culture

As minimalism has come to the forefront of mainstream consumer culture, the emphasis on simplicity has been dominated by commercialization. Critics point out that minimalism is only accessible to those who have the financial means to purchase quality, long-lasting items. Therefore, as a product of socioeconomic circ*mstances (inflation, rising housing prices, stagnant salaries), a minimalist lifestyle is frequently associated with affluent individuals who have the financial privilege to renounce “materialism.” A movement originating in humility has now been stained with an air of pretentiousness. From overpriced Ikea lamps to Target’s Project 62 mid-century household items, the irony of purchasing expensive possessions to imitate a lifestyle of living moderately cannot be missed. The goal of mindfully curated consumption has somehow evolved into an “incredibly tedious piece of personal performance art.”

In contrast, others defend the idea that minimalism can be achieved by anyone, regardless of their socioeconomic circ*mstance. However, the attitude and rhetoric surrounding different minimalist approaches can be classist. The key matter is the luxury of minimalism by choice, not necessity. Frugality as a result of choice is “minimalism,” while frugality as a result of circ*mstance is labeled “poverty.” One is the result of exercising agency, the other is imposed; one is an expression of power, and the other of powerlessness. An issue arises when affluent individuals romanticize the latter in an attempt to obscure their financial privilege and relate to a greater moral cause. The dichotomy between the freedom of privilege and the burden of necessity echoes similar debates over the privilege of sustainability and participation in some social movements. For example, people in poverty or immigrants are more likely to habitually hoard possessions as a survival response. Thus, for those with a traumatic or complex relationship with money it can be difficult to assign items value. If everything is at risk, then everything is valuable to some extent.

Others still argue that the core of minimalism is classless when viewed on an individual basis. Minimalism does not have to center around investing in “high-quality” pieces because it is about changing one’s mindset and consciously understanding what one values. From this perspective, minimalism is highly personal and nuanced, operating more like ideology or philosophy than a material state.

Minimalism in Capitalism

Beginning in the 2000s, simple web design and sleek technology catalyzed the trend toward contemporary, minimal designs. Pioneered by companies like Apple and Google, the corporate minimalist movement is characterized by larger swaths of negative space, lower amounts of content, and restricted color palettes. However, the dominating influence of capitalist minimalism begs a deeper analysis of its motives and implications.

One such explanation is that commercial minimalism is a response to the exponentially increasing flood of information in the digital age. In his intense, sardonic song Welcome to the Internet, Bo Burnham comments on the endless expansion of the internet and the chaos it feeds with the lyrics, “Anything and everything / All of the time.” Thus, people unconsciously demand simpler recognition and perception to reduce energy, effort, and the elaborate thinking process. A minimalist design simplifies the recognition process, makes it easier and more intuitive to obtain information, and has become a condition that society demands. Minimalism champions a style grounded in economical, “down-to-earth” communication between product and consumer. Indeed, visual simplicity in the past ten years has overtaken the dominant corporate aesthetic.

But underneath innocent-looking interfaces lurks a more menacing motive. As minimalism becomes increasingly commodified and co-opted by capitalist forces, we must remain vigilant of its potential to obscure deeper inequalities and perpetuate a false sense of virtue. Minimalism, as defined by absence, possesses the ability to placate oppressive sentiments. Corporate minimalism is defined by the very thing it antagonizes: the image of excess. Yet the contradiction between dirty, unethical practices and the vision of a clean, corporate brand is hidden behind refurbished logo designs. In the world of mass image saturation, controlling one’s associations keeps companies in the good graces of the liberal mainstream. Neoliberal minimalism is designed to be an exercise in humility and a rejection of commercial gluttony, but its philosophy is ultimately a false one. It is the aesthetic essence of contemporary gentrification. To strip brand images of old characteristics is to strip them of their history and wash away the problematic past. After all, to forget is to forgive, right?

Less is More?

The concept of minimalism extends far beyond its portrayal in popular culture as a mere aesthetic trend or lifestyle choice. While it has valid criticisms, it also has profound applications in various aspects of our lives. By embracing simplicity, we discover pathways to deeper understanding and fulfillment; by recalibrating what truly matters to us, we cultivate a more intentional way of living; and by rethinking the relationship between complexity and insight, we learn not to become distracted by the superfluous.

Ultimately, the question of whether or not “less is more” remains open to interpretation. While the commodification of simplicity attempts to package minimalism into a ready-made box, minimalism’s true value lies in the individual meanings we derive from it. Whether as a lifestyle choice, artistic expression, or philosophical perspective, minimalism challenges us to confront our assumptions, simplify our lives, and seek meaning in the ordinary.