On the other hand, the picture in this magazine has coherent identities for sprawling multinationals such as the International Minerals & Chemical Corporation, Aluminum Company of America and Chase Manhattan Bank. Spector and Kitnick (2014) further state that the Minimalist objects organized in the gallery are Carl Andre’s zinc floor piece, Donald Judd’s steel box and one modular aluminum sculptures by Sol LeWitt.
The magazine shows the arguments made by Spector that the connection observed in Objects and Logotypes was centered on more than unplanned resemblances. Spector went on to locate a collective rhetorical foundation undergirding the morphological resemblances. He went on to state that the Minimal sculpture and corporate identity programs are seen as robust social values reflectors, even though the designers and artists may have completely dissimilar attitudes to the stated values (Spector and Kitnick, 2014).
In conclusion, the magazine reports that the nuanced link posited by Spector between the surrounding corporate culture and Minimal artists was centered neither on clearly antagonistic positions or ironic appropriation gestures. It goes on to state that branding strategies have been everywhere in the present years and the project done by Spector may be used as a perceptive model in understanding the changing connection between corporate and art