Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
92 Chris Gilbert<br />
types and intentions” (67). Helen Mayer Harrison and Newton Harrison, a married<br />
sociologist and artist, began to work together in 1971 forging a breed of environmental<br />
art that resembled a small business. “Effectively,” Green writes, they “worked<br />
as environmental consultants.” Charles Green, The Third Hand: Collaboration in Art<br />
from Conceptualism to Postmodernism (Minneapolis: University of Minnesota Press,<br />
2001), 59–121.<br />
5. Mayo Thompson, interview with the author, October 13, 2000.<br />
6. Andrew Menard, interview with the author, August 21, 2000.<br />
7. Charles Harrison and Fred Orton, A Provisional History of Art & Language<br />
(Paris: E. Fabre, 1982), 15.<br />
8. The history of the Art Theory course at Coventry College of Art is told in a<br />
summary fashion in Harrison and Orton’s Provisional History, 25–27. David Rushton<br />
and Paul Wood began to work with Art & Language in the early 1970s and coauthored<br />
the study Politics of Art Education (London: Studio Trust, 1979). See also<br />
Rushton and Wood, “Education Bankrupts,” in Fox 1 (1975): 96–101, and “Art-<br />
Learning,” in Fox 3 (1976): 170–76.<br />
9. Harrison and Orton, Provisional History, 9–11.<br />
10. Ibid., 21. Art & Language frequently relied on a distinction between “Wrstorder”<br />
and “second-order” art—a distinction comparable to that between a discourse<br />
that might function in business or exegesis and a metalanguage that might analyze<br />
the Wrst, functional discourse.<br />
11. “Conceptual Art: Category and Action,” Art-Language 1, no. 2 (February<br />
1970): 82.<br />
12. Green, Third Hand, 53.<br />
13. Harrison and Orton, Provisional History, 10: “The third [contradiction resulting<br />
from the educational restructuring] was that while the Coldstream Council prescribed<br />
a certain small proportion of the timetable for Art History and ‘Complimentary<br />
Studies’—in line with its higher-educational aspirations for art—the priority, autonomy<br />
and prestige conferred on ‘studio work’ guaranteed a generally irreconcilable<br />
breach between studio and lecture room, practice and theory, ‘doing’ and ‘reXecting.’”<br />
14. Charles Harrison, Essays on Art & Language (Oxford: Basil Blackwell,<br />
1991), 68.<br />
15. Michael Corris, interview with the author, May 12, 1999: “we always tried to<br />
do something that made it inconvenient to see the work as ordinary, normal pieces<br />
of work, to problematize it, as one would have said in the 1980s.”<br />
16. “[O]ur dialectical loci are organizational tasks that don’t feed off a general sentimentality<br />
about sharing.” Quoted in Michael Corris and Neil Powell, “An Attempt<br />
at a Textual Analogue of a Possible Art & Language Exhibition,” Art-Language, n.s.,<br />
no. 3 (September 1999): 7.<br />
17. The work of Thomas Dreher, the whole of Blurting in Art & Language together<br />
with an introduction and other essays, is online at the Zentrum für Kunst and<br />
Medientechnologie (ZKM) Web site: http://blurting-in.zkm.de.<br />
18. Blurting in Art & Language: An Index of Blurts and Their Concatenation (the<br />
Handbook) . . . (New York: Art & Language Press; Halifax: Nova Scotia College of<br />
Art, 1973), 10.<br />
19. Ibid., 4.<br />
20. Ibid., 12.<br />
21. For more on the importance of the artist’s book, artist’s statements, and the<br />
self-published art magazine in the U.S. context, see Lawrence Alloway, “Artists as