Conceptual Art: A Critical Anthology - uncopy

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The artists worked in collaboration with student and worker groups with that collaboration being integrated into the artistic process. The artists traveled to Tucumán with extensive documentation of the economic and social problems of the province and a detailed knowledge of all the information that the media had produced regarding the problems. This last body of information had previously been submitted to critical analysis in order to evaluate its degree of distortion. In a second instance, the information gathered by the artists and technicians was developed for the exhibit that is presented at the workers’ union hall. And finally, the information that the media has produced about the artists’ activities in Tucumán is to be incorporated into the informational circuit of the first phase. The second part of the work is the presentation of all the information gathered about the situation and about the performance of the artists in Tucumán, part of which would be disseminated in union halls and in student and cultural centers in the same audiovisual form as the show at the General Confederation of Labor of the Argentineans in the city of Rosario, and subsequently in Buenos Aires. The informational circuit, whose basic intention is to promote a de-alienation of the mass-media image of the Tucumán reality, would reach a high point in the third and last phase of generating publicity in a formal publication where all the processes of conception and realization of the work would be described as well as all the documentation produced, along with a final evaluation. The position adopted by the avant-garde artists demands that their work not be incorporated into the official institutions of bourgeois culture, and establishes the necessity of having them transferred to other contexts. This exhibition is happening, then, at the General Confederation of Labor of the Argentineans because it is the institution that functions as the nucleus of the vanguard class in a fight whose ultimate objectives are shared by the authors of this work. (...) This text was published as a mimeo by the General Confederation of Labor of the Argentineans in Rosario, Argentina, in 1968. Translated by Trilce Navarrete, this is its first appearance in English. maría teresa gramuglio � nicolás rosa tucumán burns 79
michel claura, gregory battcock, dan graham, editors of art-language, sol lewitt, ian burn, lee lozano, mierle laderman ukeles, john murphy, piero gilardi, jean clay, rolf wedewer, daniel buren, joseph kosuth, lucy r. lippard
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Conceptual Art: A Critical Antholog
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conceptual art: a critical antholog
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contents ILLUSTRATIONS xii PREFACE
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Rolf Wedewer, Introduction to Konze
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Adrian Piper, On Conceptual Art 424
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16. General Idea, Orgasm Energy Cha
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have chosen to include are not mean
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elements of the artwork as equal co
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guistic act of asserting their “a
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model of conceptualism posits an un
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ody else fabricating or describing
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an isolated circuit, these works cl
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communication, integrating the work
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always already constructed. In othe
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Atkinson refers to it, compiled in
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the things only on a verbal informa
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escape it. The museum can assess in
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ognition: Representation, Power, Cu
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and, thereby, of society as a whole
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In the late sixties and early seven
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and from the language of painterly
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transformation”—had been underm
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out, conceptual art had little of t
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12. Gregory Battcock, “Painting I
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in the Labour Movement,” Dialogue
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eduardo costa, raúl escari, robert
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a media art (manifesto) eduardo cos
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4 This text was written in Buenos A
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compositions for audio structures c
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the attributed signifiers are unant
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2 Mel Bochner and Robert Smithson,
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Conceptual art is not necessarily l
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can be measured. The intervals and
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excerpt from placement as language
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3 Brian O’Doherty, Scenario for B
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1 — The derivation of the terms o
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subtracting each number in turn fro
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the visual evidence that they do me
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Page 89: 34 NOTES 1. “Other maps are such
Page 92 and 93: “reductive” art—simply corrob
Page 95 and 96: general scheme of the new objectivi
Page 97: 42 large-scale, not for an elite re
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Page 102 and 103: an “empty” work, or one with a
Page 104 and 105: ultra-conceptual. When works of art
Page 107 and 108: concerningthe article “the demate
Page 109 and 110: 54 can never be created or destroye
Page 111 and 112: 56 rather, questions of true or fal
Page 113 and 114: 58 and myself worked particularly c
Page 115 and 116: statement yvonne rainer The choices
Page 117 and 118: statement to lucy lippard hanne dar
Page 119: 7 John Baldessari, Everything Is Pu
Page 122 and 123: gallery or museum signified “this
Page 124 and 125: function. It may happen that the ob
Page 126 and 127: G. B.: At this stage, art would bec
Page 128 and 129: ual. It forces him to have the same
Page 130 and 131: 8 Martha Rosler, Bringing the War H
Page 132 and 133: The recognition of this new concept
Page 136 and 137: III 1969
Page 138 and 139: etween the artist and his public re
Page 140 and 141: In October 1967 at the Fifth Paris
Page 142 and 143: fact eliminated the artist’s “e
Page 144 and 145: or listening to gurgling or popping
Page 147 and 148: art workers’ coalition open heari
Page 149: 94 take pictures of each other just
Page 153 and 154: introduction editors of art-languag
Page 155 and 156: 100 and the U.S.A. does not, if the
Page 157 and 158: 102 The question of “recognition
Page 159: 104 in various ways stressed the ro
Page 162 and 163: 10 — Ideas alone can be works of
Page 164 and 165: 11 General Idea, The Garb Age Colle
Page 166 and 167: 1 — Language suggests, through th
Page 168 and 169: note: start write up of piece when
Page 170 and 171: “element” missing from this dia
Page 172 and 173: Aug 8, 69 Kent Cunow. Told a great
Page 174 and 175: only one who’s not staying in N.Y
Page 177 and 178: “maintenance art manifesto: propo
Page 179 and 180: 124 II. THE MAINTENANCE ART EXHIBIT
Page 181 and 182: patron’s statement for “when at
Page 183 and 184: politics and the avant-garde piero
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130 brought into being a climate of
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132 Emilio Prini states: “creativ
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134 obstacles continue to call for
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art tamed and wild jean clay May 19
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138 In a period of gigantic ephemer
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140 There has been a noticeable inc
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jects waiting to be turned into an
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We can distinguish [four] different
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The points to be examined are descr
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art that one might think that inner
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which concerns us is therefore fund
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the effacement involved is of inter
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would have us believe that what tak
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White and blue vertical stripes wer
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Traditional philosophy, almost by d
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The one thing to say about art is t
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But in the philosophic tabula rasa
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qualities seen in a specific painti
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But an empirical proposition, or a
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eration of it as an art work is nec
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the idea ofinventing. It is nothing
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Lawrence Weiner, who gave up painti
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pop paintings of John Baldessari al
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23. Ad Reinhardt:Paintings, p. 12.
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The experiences and motivations of
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Photography is a product of the non
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task of discovering underlying orde
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But the artist has that same obsess
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IV 1970
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as any kind of art; it can’t clai
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excerpts from speculation (1967-197
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194 (One dividend of such an approa
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196 In the context of visual art wh
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on exhibitions and the world at lar
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200 is common property, the same wa
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202 to other artists (3) access to
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notes towards art work charles harr
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206 objects, or to pretend that cer
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208 remarkable to pick up the ball
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introduction to art in the mind ath
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introduction to information kynasto
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214 artists use the mail, telegrams
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alice’s head: reflections on conc
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218 reproduce some recent objects w
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de-aestheticization harold rosenber
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222 taken place are, one earthworks
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contemporary colonial art luis camn
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226 The achievements of the Metropo
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228 class, thus consuming those tra
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230 the movement’s pure political
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Style, whether of the hands or of t
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V 1971-1974
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M.C.: Academicism and repetition ap
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19 Allan Sekula, Meat Theft/Disposa
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university departments. It is one s
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Such things go beyond established h
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ules of thumb victor burgin . . . a
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250 are required to recognize unequ
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252 Ifwe imagine, by way ofanalogy,
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254 conceive ofa “semantic thresh
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20 Adrian Piper, page from Foodfor
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tions.” Each of the arts is, in f
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natural. Roughly, where Pinacotheca
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considering more than just one prec
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whether we do or do not want a majo
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the trouble with art-as-idea max ko
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270 For though he may be very const
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272 For our commerce with art may g
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274 effective way for the artist to
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276 to be an affair exclusively of
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22 Fred Lonidier, 29 Arrests, 1972,
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in the physical world, and not end
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production for production’s sake
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l’art conceptuel michel claura an
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288 1 — The work can be reproduce
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290 THE POLITICS OF CONCEPTUAL ART
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postface, in six years: the demater
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24 Mierle Laderman Ukeles, Washing,
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thing, or talk; or find ourselves b
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are hit by the social and political
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from taxes and partial funding of t
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sarah charlesworth, ian burn, josep
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a declaration of dependence sarah c
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310 regarding patterns of legitimat
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312 might be centered around my inv
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314 naive preoccupation, a romantic
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316 medium, a methodology, and not
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25 Mary Kelly, Daily Schedules (1 o
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Given this, shouldn’t we be scrut
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But this sort of manipulative marke
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familiar with how “high art” ha
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ernism, but also most issues of Art
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Finally, we must not forget to emph
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function more efficiently? I find i
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7. For discussion of this era, see
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With the door to politics closed by
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curating it at the MOMA; Greenberge
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e described as a formalism of anoth
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of mouth circulation, until the mom
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The historically evolving unconscio
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historical way. It is impossible to
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3. I count curators, dealers, and h
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26 Fred Lonidier, The Health and Sa
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sentimental about (American) histor
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a concept of history as involving c
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Don’t think that artists are some
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to be bien pensant ...ornottobe.tob
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documentary and corporate violence
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362 Looking backward, at the art-wo
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364 disease, hospitalization, and e
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to argue for a video of representat
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368 make explicit the connections b
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notes on reading the post-partum do
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372 THE DISCOURSE OF WOMEN’S PRAC
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374 ognitions.” See Jacques Lacan
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moments of history in the work of d
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378 the miserableness of everyday i
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380 The component units possessed n
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382 in later notes on Schema: “Bu
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384 (1969), goes further than the p
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386 EPILOGUE OF THE IDEA OF USE VAL
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388 14. Dan Graham in a letter to t
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VII memoirs of conceptual art
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It is well accepted that capitalism
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a supervisory role. While the execu
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industries of art history departmen
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sion was “voiceless,” incapable
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outside of the expected precincts o
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emphasis on material aspects (uniqu
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But each of the above attitudes con
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9. To give one instance, consider t
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statements cildo meireles I remembe
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412 work with an object, because th
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wall language becomes an object to
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A nonvisual abstraction such as “
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with the art that these “proto-Mi
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In addition, Duchamp saw the proble
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on conceptual art adrian piper I tu
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statement robert barry If there was
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In the early 1970s, in response to
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working with shadows, working with
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434 They were l’air du temps you
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436 careful not to withdraw the obj
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438 it was possible to do a show in
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440 S.S.: I think all art movements
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we aimed to be amateurs art & langu
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444 as to how this amateur might fi
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446 To be sure, these Indexes did n
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448 The facts of who did what, how
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was to work on the concept of art,
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M.K.: For me, the impossible object
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cerns around 1980. Sometimes it see
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M.K.: But her work amounts to much
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intention(s) joseph kosuth INTENTIO
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462 the distance between the art hi
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464 the question remains, does the
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466 objects. Just as the grunts and
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468 7. Rosalind Krauss, “We Lost
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such an assessment. According to An
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(create) the conditions . . . we ha
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Try and imagine Rockefeller and his
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DOCUMENT VI, 1975 The Anti-Imperial
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6 — What is,who constitutes the
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lated mainly by Corris, Heller and
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Corris, Heller and Menard re-groupe
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NOTES 1. See my “The artist out o
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to Duchamp. It brought me an infusi
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from its inception for New York art
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“dada—situationism/tupamaros—
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494 the ownership imperative and d)
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496 following (Marta Traba for exam
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498 were the economic circumstances
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500 ism was a matter of coincidence
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VIII critical histories of conceptu
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to build a critical memorial to tha
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ately around this dynamic, display
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endeavored above all to come to ter
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post-1945 American art is symptomat
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it managed in the process to drive
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on the study of visual objects—ca
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to be given primacy over the visual
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some of the crucial foundations for
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systematically as the representatio
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virtue of the artist declaring the
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early work of Robert Barry (such as
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Wall of Plaster or Wallboard from a
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acts of petit-bourgeois anarchist r
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Mallarmé—in which the first Engl
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experience. In that process it succ
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to the thing at all. There is a cer
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15. Michel Claura, at the time the
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The avant-garde of the late 1960s a
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Modernism. The first assumption is
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Such rewritings are understandable
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the early work of Art & Language an
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political subject matter—was demo
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modernism by restoring distanced se
Page 606 and 607:
For Marchán Fiz, the distinguishin
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ment of New York would play a pivot
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analysis of the self-reflexive or s
Page 612 and 613:
vesting reality with meaning. The r
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5. A glance at the catalogues that
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15. The constitutional government o
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unwritten histories of conceptual a
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566 of visuality” or “suppressi
Page 623 and 624:
568 In Jeff Wall’s view, that iso
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