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conceptual art ian wilson The difference between conceptual art and poetry, literature, and philosophy is that conceptual art takes the principles of visual abstraction, founded in the visual arts, and applies them to language. When it does that a nonvisual abstraction occurs. Nonvisual abstraction is more difficult to grasp than visual abstraction. Although it occurs in all forms of language, it is never focused on. Nonvisual abstraction is difficult to grasp because we continue to look for something. This tendency of looking for visual meaning, or trying to use the visual faculty, causes meaninglessness to occur. Nonvisual abstraction is difficult to appreciate because it deals with the most difficult objective to comprehend. It endeavors to inspire a consciousness of being which is formless. Nonvisual abstraction is at the heart of conceptual art. Nonvisual abstraction is formless. There still is content in visual abstraction, but nonvisual abstraction has no content. A concept without content is formless. True conceptual art does not compromise itself by re-entering the traditional context of the visual arts. No matter how nonvisual or abstract a work may be, when it is put on a gallery
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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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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
Page 417 and 418: 362 Looking backward, at the art-wo
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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
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Page 452 and 453: industries of art history departmen
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Page 460 and 461: But each of the above attitudes con
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Page 488 and 489: for people of my generation, even i
Page 490 and 491: almost nothing to do with aesthetic
Page 492 and 493: The relationship is very, very clos
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Page 498 and 499: their more conspicuous adult life.
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Page 516 and 517: Conceptual art, simply put, had as
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works of art—who provide the beli
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This leaves us with a brand of art-
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eferential. What art shows in such
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inside a new york art gang: selecte
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472 problem by 1974; for most of us
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474 bankrupts choice. Nothing is po
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476 DOCUMENT V, 1975-76 A questionn
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478 issue for many members of the g
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480 Mr. di Meana said The Fox group
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482 laissez-faire form and its incr
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484 and on what we organize against
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statement martha rosler From an ear
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488 continue to exist, though some
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490 proliferated. By the mid-90s ma
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While it is true that the art press
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occasion of the show. The same year
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America at this time can you tell m
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e too schematic. There were anti-in
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jeff wall, benjamin h. d. buchloh,
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dan graham’s kammerspiel jeff wal
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506 emblems of social and spiritual
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508 mechanism through which a corpo
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510 Speculative, inflation-driven c
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512 its bad conscience. Exhibitioni
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conceptual art 1962-1969: from the
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516 operations. 2 Their convictions
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518 ROBERT MORRIS’S PARADOXES The
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520 This erosion works, then, not j
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522 he in fact updated modernism’
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524 A TALE OF MANY SQUARES The visu
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526 of the square—would be illegi
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528 presented a formula that then f
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530 sheets of printed striped paper
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532 enthusiastic critics, it now se
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534 knowledge of the Fluxus movemen
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536 value is not altered by its pre
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conceptual art and critical judgeme
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540 question. And this is to say th
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542 that nomination was a dead duck
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544 is probably not worth consideri
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the logic of modernism adrian piper
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548 strategy of importing back to E
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lueprint circuits: conceptual art a
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552 STRATEGIC CIRCUITS: UNFOLDING P
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554 as vehicles to dissect the comm
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556 Latin American context. The gro
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558 NOTES 1. Webster’s Third New
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560 10. Dittborn has explained, “
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562 23. For analysis of the relatio
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grown from within visual art itself
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century recovered key tenets of the
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747, Icarus and Trans-Fixed (1973);
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