Conceptual Art 1962-1969: From the Aesthetic of Administration to ...

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Conceptual Art 1962 - 1969: Fromthe Aesthetic of Administrationto the Critique of Institutions*BENJAMIN H. D. BUCHLOHThis monster called beauty is not eternal. We know that our breath had nobeginning and will never stop, but we can, above all, conceive of the world'screation and its end.-Apollinaire, Les peintres cubistesAllergic to any relapse into magic, art is part and parcel of the disenchantmentof the world, to use Max Weber's term. It is inextricably intertwinedwith rationalization. What means and productive methods art has at itsdisposal are all derived from this nexus.-Theodor AdornoA twenty-year distance separates us from the historical moment of ConceptualArt. It is a distance that both allows and obliges us to contemplate themovement's history in a broader perspective than that of the convictions heldduring the decade of its emergence and operation (roughly from 1965 to itstemporary disappearance in 1975). For to historicize Conceptual Art requires,first of all, a clarification of the wide range of often conflicting positions and themutually exclusive types of investigation that were generated during this period.But beyond that there are broader problems of method and of "interest."For at this juncture, any historicization has to consider what type of questions anart-historical approach -traditionally based on the study of visual objects -canlegitimately pose or hope to answer in the context of artistic practices thatexplicitly insisted on being addressed outside of the parameters of the productionof formally ordered, perceptual objects, and certainly outside of those of arthistory and criticism. And, further, such an historicization must also address the* An earlier version of this essay was published in L'art conceptuel: une perspective (Paris: Museed'art moderne de la Ville de Paris, 1989).
Sonatine Bureaua~atique (BUREAUCRATIC SOXATIXA)/Io..s off.Erik SATIERr goes merrily to his11 va gaielner~t I( "?!I+),'-" reprir,rilnzf" is out translatable.1'o/?yrr.~hf1917 b~ S-Chopelzrr Pnr,:rL PAILIPPO, Editeur, 24, B? yoissononniEre, Paris. P. 669Erik Statie. Bureaucratic Sonatina. 1917.
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Page 5 and 6: OCTOBER movement's self-declared pr
Page 7 and 8: 110 OCTOBERlater by Seth Siegelaub'
Page 9 and 10: OCTOBER not more so-in his contempt
Page 11 and 12: Sol LeWitt. Untitled (Red Square, W
Page 13 and 14: OCTOBER made as the mere displaceme
Page 15 and 16: 118 OCTOBERto the manifest lack of
Page 17 and 18: VARIOUS ' I x * Edward Rurcha. Four
Page 19 and 20: OCTOBER Years, or, most significant
Page 21 and 22: OCTOBERBy contrast, Graham's work a
Page 23 and 24: OCTOBERreception-the understanding
Page 25 and 26: OCTOBERtion types shows art "works"
Page 27 and 28: OCTOBERwhich never sets over the em
Page 29 and 30: Robert Morris. Four Mirrored Cubes.
Page 31 and 32: OCTOBERThe diversity of these proto
Page 33 and 34: OCTOBERTranscending the literalist
Page 35 and 36: Buren, Mosset, Parmentier, Toroni.M
Page 37 and 38: 140 OCTOBERincidentally, which had
Page 39 and 40: 142 OCTOBERBuren, Mosset, Parmentie

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