Conceptual Art: A Critical Anthology - uncopy

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16. General Idea, Orgasm Energy Chart, 1970 209 17. Hans Haacke, MOMA-Poll, 1970 215 18. Mary Kelly, untitled event at the New Arts Laboratory, London, 1970 223 19. Allan Sekula, Meat Theft/Disposal Piece, 1971 240–241 20. Adrian Piper, page from Food for the Spirit, 1971 256 21. Art & Language, Index 01, 1972, installation details 266 22. Fred Lonidier, 29 Arrests, 1972, detail 278 23. Mel Bochner, Axiom of Indifference, 1972–73 292–293 24. Mierle Laderman Ukeles, Washing, Tracks, Maintenance, 1973 296 25. Mary Kelly, Daily Schedules from Women and Work, 1975, detail 318 26. Fred Lonidier, The Health and Safety Game: Note and Scrapbook, 1979, and The Health and Safety Game, 1975, details 349 27. Victor Burgin, Think About It, 1976 356–357 28. Karl Beveridge and Carole Condé, It’s Still Privileged Art, 1976, detail 365 29. Red Herring no. 1, cover image, 1977 375
preface Compared to other neo-avant-garde movements that emerged during the 1960s, conceptual art is conspicuous by virtue of the lack of serious discussion by art historians and critics over the last two decades. This gap in the reception is particularly ironic given the tremendous influence conceptual art has had on subsequent artistic developments, on the critical discussion surrounding the concept of postmodernism, and on the recognition and use, more generally, of various forms of theory by artists, curators, critics, and historians. There are signs that this deficiency is being remedied, however, with the recent publication of the writings of a growing number of conceptual artists and the staging of large exhibitions surveying conceptualism at major museums. The MIT Press has played a crucial role in supporting this renewed interest, so we were delighted when it agreed to publish this collection. Our hope is that it will make a valuable contribution to this resurgence, serving teachers and students of the period as well as artists, historians, and critics. Included in our selection are some of the best-known texts of conceptual art, a number of lesser-known, previously unpublished or untranslated materials, as well as articles and interviews produced specifically for this volume. Each of these, in its own way, provides considerable insight into the period. The volume is organized chronologically from 1966 to 1977. The final two sections present memoirs by artists involved in the initial historical moment and a selection of the most important critical and scholarly histories of conceptual art written to date. The images we
Page 1 and 2: Conceptual Art: A Critical Antholog
Page 4 and 5: conceptual art: a critical antholog
Page 7 and 8: contents ILLUSTRATIONS xii PREFACE
Page 9 and 10: Rolf Wedewer, Introduction to Konze
Page 11: Adrian Piper, On Conceptual Art 424
Page 16 and 17: have chosen to include are not mean
Page 18 and 19: elements of the artwork as equal co
Page 20 and 21: guistic act of asserting their “a
Page 22 and 23: model of conceptualism posits an un
Page 24 and 25: ody else fabricating or describing
Page 26 and 27: an isolated circuit, these works cl
Page 28 and 29: communication, integrating the work
Page 30 and 31: always already constructed. In othe
Page 32 and 33: Atkinson refers to it, compiled in
Page 34 and 35: the things only on a verbal informa
Page 36 and 37: escape it. The museum can assess in
Page 38 and 39: ognition: Representation, Power, Cu
Page 40 and 41: and, thereby, of society as a whole
Page 42 and 43: In the late sixties and early seven
Page 44 and 45: and from the language of painterly
Page 46 and 47: transformation”—had been underm
Page 48 and 49: out, conceptual art had little of t
Page 50 and 51: 12. Gregory Battcock, “Painting I
Page 52 and 53: in the Labour Movement,” Dialogue
Page 55 and 56: eduardo costa, raúl escari, robert
Page 57 and 58: a media art (manifesto) eduardo cos
Page 59 and 60: 4 This text was written in Buenos A
Page 61: compositions for audio structures c
Page 64 and 65:
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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uren, mosset, toroni or anybody mic
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emarks on air-conditioning: an extr
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34 NOTES 1. “Other maps are such
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“reductive” art—simply corrob
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general scheme of the new objectivi
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42 large-scale, not for an elite re
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II 1968
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an “empty” work, or one with a
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ultra-conceptual. When works of art
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concerningthe article “the demate
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54 can never be created or destroye
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56 rather, questions of true or fal
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58 and myself worked particularly c
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statement yvonne rainer The choices
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statement to lucy lippard hanne dar
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7 John Baldessari, Everything Is Pu
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gallery or museum signified “this
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function. It may happen that the ob
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G. B.: At this stage, art would bec
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ual. It forces him to have the same
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8 Martha Rosler, Bringing the War H
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The recognition of this new concept
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The artists worked in collaboration
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III 1969
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etween the artist and his public re
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In October 1967 at the Fifth Paris
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fact eliminated the artist’s “e
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or listening to gurgling or popping
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art workers’ coalition open heari
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94 take pictures of each other just
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introduction editors of art-languag
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100 and the U.S.A. does not, if the
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102 The question of “recognition
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104 in various ways stressed the ro
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10 — Ideas alone can be works of
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11 General Idea, The Garb Age Colle
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1 — Language suggests, through th
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note: start write up of piece when
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“element” missing from this dia
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Aug 8, 69 Kent Cunow. Told a great
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only one who’s not staying in N.Y
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“maintenance art manifesto: propo
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124 II. THE MAINTENANCE ART EXHIBIT
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patron’s statement for “when at
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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
Page 236 and 237:
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
Page 259 and 260:
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
Page 273 and 274:
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
Page 290 and 291:
V 1971-1974
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M.C.: Academicism and repetition ap
Page 295:
19 Allan Sekula, Meat Theft/Disposa
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university departments. It is one s
Page 300 and 301:
Such things go beyond established h
Page 303 and 304:
ules of thumb victor burgin . . . a
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250 are required to recognize unequ
Page 307 and 308:
252 Ifwe imagine, by way ofanalogy,
Page 309 and 310:
254 conceive ofa “semantic thresh
Page 311:
20 Adrian Piper, page from Foodfor
Page 314 and 315:
tions.” Each of the arts is, in f
Page 316 and 317:
natural. Roughly, where Pinacotheca
Page 318 and 319:
considering more than just one prec
Page 320 and 321:
whether we do or do not want a majo
Page 323 and 324:
the trouble with art-as-idea max ko
Page 325 and 326:
270 For though he may be very const
Page 327 and 328:
272 For our commerce with art may g
Page 329 and 330:
274 effective way for the artist to
Page 331 and 332:
276 to be an affair exclusively of
Page 333:
22 Fred Lonidier, 29 Arrests, 1972,
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in the physical world, and not end
Page 339 and 340:
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
Page 356 and 357:
are hit by the social and political
Page 358 and 359:
from taxes and partial funding of t
Page 361 and 362:
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
Page 371 and 372:
316 medium, a methodology, and not
Page 373:
25 Mary Kelly, Daily Schedules (1 o
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Given this, shouldn’t we be scrut
Page 378 and 379:
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
Page 384 and 385:
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
Page 410:
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
Page 417 and 418:
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
Page 462 and 463:
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
Page 512 and 513:
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
Page 574 and 575:
some of the crucial foundations for
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systematically as the representatio
Page 578 and 579:
virtue of the artist declaring the
Page 580 and 581:
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
Page 588 and 589:
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
Page 598 and 599:
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
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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
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568 In Jeff Wall’s view, that iso
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