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

More documents

Recommendations

Info

Me1 Bochner. Working Drawings and Other VisibleThings on Paper Not Necessarily Meant to BeViewed as Art. Installation, School of Visual ArtsGallery, December, 1966.Me1 Bochner, by contrast, seems to have chosen Dan Flavin as his primaryfigure of reference. He wrote one of the first essays on Dan Flavin (it is in fact atext-collage of accumulated quotations, all of which relate in one way or theother to Flavin's work).5 Shortly thereafter, the text-collage as a presentationalmode would, indeed, become formative within Bochner's activities, for in thesame year he organized what was probably the first truly conceptual exhibition(both in terms of materials being exhibited and in terms of presentational style).Entitled Working Drawings and Other Visible Things on Paper Not Necessarily Meantto Be Viewed as Art (at the School of Visual Arts in 1966), most of the Minimalartists were present along with a number of then still rather unknown Post-Minima1and Conceptual artists. Having assembled drawings, sketches, documents,tabulations, and other paraphernalia of the production process, the exhibitionlimited itself to presenting the "originals" in Xeroxes assembled into four looseleafbinders that were installed on pedestals in the center of the exhibition space.While one should not overestimate the importance of such features (nor shouldone underestimate the pragmatics of such a presentational style), Bochner'sintervention clearly moved to transform both the format and space of exhibitions.As such, it indicates that the kind of transformation of exhibition space andof the devices through which an is presented that was accomplished two years5. Me1 Bochner, "Less is Less (for Dan Flavin)," Art and Artists (Summer 1966).
110 OCTOBERlater by Seth Siegelaub's exhibitions and publications (e.g., The Xerox Book) hadalready become a common concern of the generation of post-Minimal artists.A third example of the close generational sequencing would be the fact thatJoseph Kosuth seems to have chosen Donald Judd as his key figure: at least one ofthe early tautological neon works from the Proto-Investigations is dedicated toDonald Judd; and throughout the second part of "Art after Philosophy" (publishedin November, 1969), Judd's name, work, and writings are invoked withthe same frequency as those of Duchamp and Reinhardt. At the end of this essay,Kosuth explicitly states: "I would hastily add to that, however, that I was certainlymuch more influenced by Ad Reinhardt, Duchamp via Johns and Morris,Sol LeWitt. Wall Floor Piece (Three Squares). 1966.
Page 1 and 2: Conceptual Art 1962-1969: From the
Page 3 and 4: Sonatine Bureaua~atique (BUREAUCRAT
Page 5: OCTOBER movement's self-declared pr
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

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?