Conceptual Art: A Critical Anthology - uncopy

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An 18-inch stool is set up in my apartment and used as a step. Each morning, during the designated months, I step up and down the stool at the rate of 30 steps per minute. Each day, I step up and down until I can’t go on and I am forced to stop. Improvement, and the ability to sustain improvement, is put to the test: after the first month’s activity, there’s a onemonth layoff, then a three-month layoff. (Announcements are sent out inviting the public to come see the activity in my apartment any day during the designated months. At the end of each month’s activity, a progress report is sent out to the public.) 15 Vito Acconci, Step Piece (Steps: Stepping-Off Place), Apartment 6B, 102 Christopher Street, New York City, 1970. Activity/Performance, 4 months (February, April, July, No- vember); varying times each day.
on exhibitions and the world at large charles harrison and seth siegelaub (...) Charles Harrison: Do you think exhibitions affect looking at art? Seth Siegelaub: They can. But usually pejoratively. In a large sense, everything is situation. In an exhibition situation the context—other artists, specific works—begins to imply, from without, certain things about any art work. The less standard the exhibition situation becomes, the more difficult to “see”the individual work of art. So that an exhibition with six works of one artist and one of another begins to bring to bear on the art pre-exhibition values that prejudice the “seeing”process. All choices in the predetermination of the exhibition hinder the viewing of the intrinsic value of each work of art. Themes, judgmental criticism, preferences for individual artists expressed by differences in the number of works, all prejudge art. C. H.: Can exhibitions ever serve the intentions of the artist, and if so, how? S. S.: When artists show together their art shares a common space and time. This situation makes differences more obvious—if only by proximity. If all the conditions for making art were standard for all artists—same materials, size, color, etc.—there would still be great artists and lesser artists. The question of context has always been important. The nature of the
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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
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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
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
Page 216 and 217: The one thing to say about art is t
Page 218 and 219: But in the philosophic tabula rasa
Page 220 and 221: qualities seen in a specific painti
Page 222 and 223: But an empirical proposition, or a
Page 224 and 225: eration of it as an art work is nec
Page 226 and 227: the idea ofinventing. It is nothing
Page 228 and 229: Lawrence Weiner, who gave up painti
Page 230 and 231: pop paintings of John Baldessari al
Page 232 and 233: 23. Ad Reinhardt:Paintings, p. 12.
Page 234 and 235: The experiences and motivations of
Page 236 and 237: Photography is a product of the non
Page 238 and 239: task of discovering underlying orde
Page 240 and 241: But the artist has that same obsess
Page 242 and 243: IV 1970
Page 244 and 245: as any kind of art; it can’t clai
Page 247 and 248: excerpts from speculation (1967-197
Page 249 and 250: 194 (One dividend of such an approa
Page 251: 196 In the context of visual art wh
Page 255 and 256: 200 is common property, the same wa
Page 257 and 258: 202 to other artists (3) access to
Page 259 and 260: notes towards art work charles harr
Page 261 and 262: 206 objects, or to pretend that cer
Page 263 and 264: 208 remarkable to pick up the ball
Page 265 and 266: introduction to art in the mind ath
Page 267 and 268: introduction to information kynasto
Page 269 and 270: 214 artists use the mail, telegrams
Page 271 and 272: alice’s head: reflections on conc
Page 273 and 274: 218 reproduce some recent objects w
Page 275 and 276: de-aestheticization harold rosenber
Page 277 and 278: 222 taken place are, one earthworks
Page 279 and 280: contemporary colonial art luis camn
Page 281 and 282: 226 The achievements of the Metropo
Page 283 and 284: 228 class, thus consuming those tra
Page 285: 230 the movement’s pure political
Page 288 and 289: Style, whether of the hands or of t
Page 290 and 291: V 1971-1974
Page 292 and 293: M.C.: Academicism and repetition ap
Page 295: 19 Allan Sekula, Meat Theft/Disposa
Page 298 and 299: university departments. It is one s
Page 300 and 301: 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
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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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