Conceptual Art: A Critical Anthology - uncopy

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1 — Language suggests, through the idea and viewer, a kind of dialogue or “conversation.” 2 — This creates an actual area of the work. 3 — Participating in a dialogue gives the viewer a new significance; rather than listening, he becomes involved in reproducing and inventing part of that dialogue. This text appeared in the untitled mimeograph periodical <strong>Art</strong> Press, published in New York in July 1969 by The Society for Theoretical <strong>Art</strong> & Analysis of which Burn was a founding member. ian burn dialogue 111
dialogue piece lee lozano (Started April 21, 69) or verball. call (or write/speak to) people for the specific purpose of inviting them to yr loft for a dialogue. in process for the rest of “life”. (printed in the notebook’s margin) note: definition of “dialogue” remains open. verball gives some indication. April 21, 69— Call Moose (Robt Morris). Leave name & number with his answering service. May 11, 69— Call Walter DeMaria. Leave name only with A.S. May 13, 69— Call Walter DeMaria. Leave name & number with A.S. May 14, 69— Call Jap, (Jasper Johns) at Castelli Gallery. Leave name & no. with David White who promises to get message to Jap although Jap is “very busy & in & out of town this week”. May 14, 69— Call Poonsie (Larry Poons). He answers phone, we make a date for May 21 (Wed), 4 p.m.
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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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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
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 134 and 135: The artists worked in collaboration
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
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Page 162 and 163: 10 — Ideas alone can be works of
Page 164 and 165: 11 General Idea, The Garb Age Colle
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
Page 185 and 186: 130 brought into being a climate of
Page 187 and 188: 132 Emilio Prini states: “creativ
Page 189 and 190: 134 obstacles continue to call for
Page 191 and 192: art tamed and wild jean clay May 19
Page 193 and 194: 138 In a period of gigantic ephemer
Page 195: 140 There has been a noticeable inc
Page 198 and 199: jects waiting to be turned into an
Page 200 and 201: We can distinguish [four] different
Page 202 and 203: The points to be examined are descr
Page 204 and 205: art that one might think that inner
Page 206 and 207: which concerns us is therefore fund
Page 208 and 209: the effacement involved is of inter
Page 210 and 211: would have us believe that what tak
Page 212 and 213: White and blue vertical stripes wer
Page 214 and 215: 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
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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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