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a concept of history as involving class struggle. (How about Joseph Beuys’ solution to Ulster’s troubles: set up free schools where the proletariat can be distracted by the realization of their own true creativity? What does he think they’re going to do? Sculpting in fat and felt and talking to dead animals don’t map easily onto the culture of the Six Counties.) It’s hard to see how social transformation can be achieved without some putting to death. This is not bloodlust but realism. It seems clear that there are those who will never be persuaded that they have no right to be greedy. They are themselves realists of a sort. There can indeed be no equity of provision of “opportunities” where the appropriation of material and ideological commodities is concerned, at least certainly not without a transformation so radical as wholly to revise the terms of reference for the concept of opportunity, and it’s unlikely that this could be countenanced by those who proclaim the importance of opportunity as presently construed. While we might not wish to sanction labor camps, we could be sympathetic to a view of them as places where you send those who won’t be put to work. (And we all have colleagues . . .) Nor would we fight for freedom of speech if that just meant fighting for the right to express merely superstructural (idealistic, asocial) concepts of “human rights.” We might even see mental hospitals as not inappropriate places of residence for those dissident intellectuals who see dissidence as a mere function of individuality of intuition; i.e. it’s more defensible to use them as prisons for those who are already the prisoners of their own minds than as centers of “treatment” for the victims of medically irrelevant demarcations imposed by “liberal” medicine in defense of property and social harmony. This is the point at which the social democrat gets frightened and sells out in the name of (bourgeois) “humanism.” “But I wanted peaceful transformation. If it can’t be nonviolent it won’t be what I wanted. And what about my <strong>Art</strong>? I thought I was fighting for the right to go on doing my thing....” This essay was first published in The Fox, 1:3 (1976), pp. 75–77. art & language, UK having-your-heart-in-the-right-place-is-not-making-history 353
the timeless lumpenness of a radical cultural life art & language, UK . . . The timeless lumpenness of a radical cultural life; the gangrenous excrescence, stylishly exposed in the quiet salons. The market for the dry delicacies of pretentious gentility, the overfed opinion, the corpulent choice, the leisured appropriation, “society” and society in harmony are an objective condition of the class struggle. The privileged low-life of high culture is the massification of the people, is the enemy of inquiry, is an insult to, and sometimes an egregious product of, the achievement and goals of working-class movements, a denial of the real objectives of the working-class movement. It is not, however, the life of the unwitting fool. It has its own agencies. The conditions of the production of high culture are not somehow apart from these machinations in brutality . . . and the artists are not exempt from the charge of connivance at the proliferation of force, violence: the barbarism of imperialism. Their “status” as an economic hors concours serves the aim of the ruling classes in their continuing domination. It avails no one of a glimpse of “freedom.” It is a status which allows a parvenu sincerity, the treachery of the successful product, to be deified in a fideism of “culture,” a fideism in the interests of the ruling class.
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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
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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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Page 361 and 362: sarah charlesworth, ian burn, josep
Page 363 and 364: a declaration of dependence sarah c
Page 365 and 366: 310 regarding patterns of legitimat
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Page 369 and 370: 314 naive preoccupation, a romantic
Page 371 and 372: 316 medium, a methodology, and not
Page 373: 25 Mary Kelly, Daily Schedules (1 o
Page 376 and 377: Given this, shouldn’t we be scrut
Page 378 and 379: But this sort of manipulative marke
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Page 382 and 383: ernism, but also most issues of Art
Page 384 and 385: Finally, we must not forget to emph
Page 386 and 387: function more efficiently? I find i
Page 388 and 389: 7. For discussion of this era, see
Page 390 and 391: With the door to politics closed by
Page 392 and 393: curating it at the MOMA; Greenberge
Page 394 and 395: e described as a formalism of anoth
Page 396 and 397: of mouth circulation, until the mom
Page 398 and 399: The historically evolving unconscio
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Page 402 and 403: 3. I count curators, dealers, and h
Page 404 and 405: 26 Fred Lonidier, The Health and Sa
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Page 410: Don’t think that artists are some
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Page 415 and 416: documentary and corporate violence
Page 417 and 418: 362 Looking backward, at the art-wo
Page 419 and 420: 364 disease, hospitalization, and e
Page 421 and 422: to argue for a video of representat
Page 423 and 424: 368 make explicit the connections b
Page 425 and 426: notes on reading the post-partum do
Page 427 and 428: 372 THE DISCOURSE OF WOMEN’S PRAC
Page 429 and 430: 374 ognitions.” See Jacques Lacan
Page 431 and 432: moments of history in the work of d
Page 433 and 434: 378 the miserableness of everyday i
Page 435 and 436: 380 The component units possessed n
Page 437 and 438: 382 in later notes on Schema: “Bu
Page 439 and 440: 384 (1969), goes further than the p
Page 441 and 442: 386 EPILOGUE OF THE IDEA OF USE VAL
Page 443: 388 14. Dan Graham in a letter to t
Page 446 and 447: VII memoirs of conceptual art
Page 448 and 449: It is well accepted that capitalism
Page 450 and 451: a supervisory role. While the execu
Page 452 and 453: industries of art history departmen
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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
Page 623 and 624:
568 In Jeff Wall’s view, that iso
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