Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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Art & Language and the Institutional Form 83<br />
above, consisted of what the group called “smart essay writing”—smartness,<br />
given the school system’s tendency to favor the hand over the head, the studio<br />
over the study, having acquired the stamp of resistance in relation to the<br />
values of the prevailing educational institutions. 13<br />
In the early 1970s, with participation in the group swelling (and<br />
Baldwin cut off from employment at Coventry College of Art), Art & Language<br />
embarked on a series of groundbreaking projects: the indexes. This<br />
series of projects reXected the group’s increasingly complicated and <strong>autonomous</strong><br />
character—equivalent, according to the deWnition advanced above,<br />
to its increasingly institutional character. With the Wrst such project, Index 01<br />
of 1972, Art & Language also entered its most self-reXexive period. Sometimes<br />
called Documenta Index <strong>after</strong> its Wrst exhibition venue (“Documenta<br />
5” in Kassel, Germany), this work was housed in Wling cabinets that resembled<br />
library card catalogs. It consisted of a series of propositions, drawn from<br />
the Art-Language journal and other sources, together with wall diagrams showing<br />
how the propositions connected (whether they were compatible, incompatible,<br />
or had no relation to one another). Harrison observes that the work<br />
“dramatized the internal ideological and other conXicts in the group” and<br />
further that it “dramatized the social nature of thinking.” 14 In effect, Index<br />
01 was a way of exhibiting the agreements and disagreements among selected<br />
propositions and beliefs held in the group, and in that way it depicted and<br />
thematized the group’s social or institutional structure. Though a discrete<br />
object, made for exhibition and possibly even sale, it was signiWcantly different<br />
from most physical art objects in that it was not merely intended for<br />
beholding or contemplation. Instead, what was essential to Index 01 was its<br />
documentary and functional qualities, and key to this functioning was the<br />
alternative form of sociality and <strong>learning</strong> that the index reXected in the<br />
group. 15 This was a form of sociality that, like the use of the project itself, was<br />
permeable from the outside and based on participation rather than membership.<br />
Because of its open, dialogic structure, Index 01 allowed the provisional<br />
and problematic features of the group’s sociality to remain at the forefront. 16<br />
The index model became a pattern for the group’s projects over<br />
the next few years. A subsequent series of indexes grew out of the Annotations<br />
project created from January to July of 1973. During that time, a group<br />
of eight participants met weekly in New York City and produced brief texts<br />
that commented on statements made in the previous week’s meeting. In<br />
Britain, this material inspired the intractably complex Index 002 Bxal—which<br />
some Art & Language participants claimed never to have understood—while<br />
in New York, a group led by Michael Corris and Mel Ramsden developed<br />
the more open but no less sophisticated structure that resulted in the Blurting<br />
in Art & Language booklet. Hypertext avant la lettre, this booklet logged