Conceptual Art: A Critical Anthology - uncopy

an object that one should be able to make the question ofthe object ofart go away as it is in
its relations with the oeuvre, its relations with art. And, more concretely, 2) what is a sheet of
paper with some words on it, a book, verbal or written information; in brief, what is conceptual
art ifit is not a presentation ofobjects, as ifit was a question of(and for a very good reason
...)objects ofart?
When conceptual art was defined as an interrogation ofart, it was certainly made to take
the wrong course; very nearly, it would be made to believe that art’s corrupt being is questioned
by writing some words on its subject or to be more exact about its object (ofart).
But one is never short ofdefinitions that are as distorted as they are appealing.
IS CONCEPTUAL ART AMERICAN?
S.S.: The debut ofconceptual art is unique because it appeared simultaneously around
the world. Prior to this, artistic movements were very localized with all the leaders living in the
same city (and usually the same neighborhood). It could also be said, in other words, that it
was impossible to be an important artist unless you lived in the “right” city. Conceptual art,
which is an inappropriate name, was probably the first artistic movement which did not have
a geographic center. One could think that it evolved from New York, but this is certainly due
to the fact that New York was the center for artistic promotion, reviews, books, galleries, etc.
M.C.: It is certain that conceptual art existed outside the United States before it was
revealed to the public. The ideology that supports this form of art is not specifically American.
It could even be European rather, with its recourse to written language. And, anyway, the
ideology that underlies western art seems today to subtend the art world in a much more
consistent and simultaneously anterior manner.
(...)
THE SUCCESS OF CONCEPTUAL ART
S.S.: There are two possible reasons why anything succeeds. One is that the thing has
quality, has a certain value, is ofa type evidently valuable and important. The other is the type
that has been carefully and brilliantly launched by the people who profit from its success. It’s
up to you to make this distinction.
Beyond the question of“quality,” there were a certain number ofcharacteristics particular
to conceptual art that were contributing to its success:
michel claura � seth siegelaub l’art conceptuel 287