Conceptual Art: A Critical Anthology - uncopy

More documents

Recommendations

Info

the visual evidence that they do meet at the point where they intersect on the horizon line (the “vanishing point” or “infinity” of perspective). Out of his investigations of “visual” (as opposed to “tactile”) geometry came the field of projective geometry. Projective geometry investigates such problems as the means of projecting figures from the surface of three-dimensional objects to two-dimensional planes. It has led to the solution of some of the problems in mapmaking. Maps are highly abstract systems, but since distortion of some sort must occur in the transformation from three to two dimensions, maps are never completely accurate. To compensate for distortion, various systems have been devised. On a topographical map, for example, the lines indicating levels (contour lines) run through points which represent physical points on the surface mapped so that an isomorphic relation can be established. Parallels of latitude, isobars, isothermal lines and other grid coordinate denotations, all serialized, are further cases of the application of external structure systems to order the unordered. Another serial aspect of mapmaking is a hypothesis in topology about color. It states that with only four colors all the countries on any map can be differentiated without any color having to appear adjacent to itself. (One wonders what the results might look like if all the paintings in the history of art were repainted to conform to the conditions of this hypothesis.) (. . .) This text was published in Artforum, 6:4 (December 1967), pp. 28–33. mel bochner the serial attitude 27
statement daniel buren, olivier mosset, michel parmentier, niele toroni Art is the illusion of disorientation, the illusion of liberty, the illusion of presence, the illusion of the sacred, the illusion of Nature....Notthepainting of Buren, Mosset, Parmentier or Toroni....Artisadistraction, art is false. Painting begins with Buren, Mosset, Parmentier, Toroni. This text appeared in the form of a three-minute audio tape loop synchronized to a series of slides (of flowers, a striptease, a bullfight, views of St. Tropez, and more) projected onto paintings by the four artists at the Paris Biennale in October 1967. The present translation is taken from Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (New York: Praeger, 1973), p. 30.
Page 1 and 2:
Conceptual Art: A Critical Antholog
Page 4 and 5:
conceptual art: a critical antholog
Page 7 and 8:
contents ILLUSTRATIONS xii PREFACE
Page 9 and 10:
Rolf Wedewer, Introduction to Konze
Page 11:
Adrian Piper, On Conceptual Art 424
Page 14 and 15:
16. General Idea, Orgasm Energy Cha
Page 16 and 17:
have chosen to include are not mean
Page 18 and 19:
elements of the artwork as equal co
Page 20 and 21:
guistic act of asserting their “a
Page 22 and 23:
model of conceptualism posits an un
Page 24 and 25:
ody else fabricating or describing
Page 26 and 27:
an isolated circuit, these works cl
Page 28 and 29:
communication, integrating the work
Page 30 and 31:
always already constructed. In othe
Page 32 and 33: Atkinson refers to it, compiled in
Page 34 and 35: the things only on a verbal informa
Page 36 and 37: escape it. The museum can assess in
Page 38 and 39: ognition: Representation, Power, Cu
Page 40 and 41: and, thereby, of society as a whole
Page 42 and 43: In the late sixties and early seven
Page 44 and 45: and from the language of painterly
Page 46 and 47: transformation”—had been underm
Page 48 and 49: out, conceptual art had little of t
Page 50 and 51: 12. Gregory Battcock, “Painting I
Page 52 and 53: in the Labour Movement,” Dialogue
Page 55 and 56: eduardo costa, raúl escari, robert
Page 57 and 58: a media art (manifesto) eduardo cos
Page 59 and 60: 4 This text was written in Buenos A
Page 61: compositions for audio structures c
Page 64 and 65: the attributed signifiers are unant
Page 66 and 67: 2 Mel Bochner and Robert Smithson,
Page 68 and 69: Conceptual art is not necessarily l
Page 70 and 71: can be measured. The intervals and
Page 73 and 74: excerpt from placement as language
Page 75: 3 Brian O’Doherty, Scenario for B
Page 78 and 79: 1 — The derivation of the terms o
Page 80 and 81: subtracting each number in turn fro
Page 85 and 86: uren, mosset, toroni or anybody mic
Page 87 and 88: emarks on air-conditioning: an extr
Page 89: 34 NOTES 1. “Other maps are such
Page 92 and 93: “reductive” art—simply corrob
Page 95 and 96: general scheme of the new objectivi
Page 97: 42 large-scale, not for an elite re
Page 100 and 101: II 1968
Page 102 and 103: an “empty” work, or one with a
Page 104 and 105: ultra-conceptual. When works of art
Page 107 and 108: concerningthe article “the demate
Page 109 and 110: 54 can never be created or destroye
Page 111 and 112: 56 rather, questions of true or fal
Page 113 and 114: 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
Page 159:
104 in various ways stressed the ro
Page 162 and 163:
10 — Ideas alone can be works of
Page 164 and 165:
11 General Idea, The Garb Age Colle
Page 166 and 167:
1 — Language suggests, through th
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
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 and 252:
196 In the context of visual art wh
Page 253 and 254:
on exhibitions and the world at lar
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
Page 303 and 304:
ules of thumb victor burgin . . . a
Page 305 and 306:
250 are required to recognize unequ
Page 307 and 308:
252 Ifwe imagine, by way ofanalogy,
Page 309 and 310:
254 conceive ofa “semantic thresh
Page 311:
20 Adrian Piper, page from Foodfor
Page 314 and 315:
tions.” Each of the arts is, in f
Page 316 and 317:
natural. Roughly, where Pinacotheca
Page 318 and 319:
considering more than just one prec
Page 320 and 321:
whether we do or do not want a majo
Page 323 and 324:
the trouble with art-as-idea max ko
Page 325 and 326:
270 For though he may be very const
Page 327 and 328:
272 For our commerce with art may g
Page 329 and 330:
274 effective way for the artist to
Page 331 and 332:
276 to be an affair exclusively of
Page 333:
22 Fred Lonidier, 29 Arrests, 1972,
Page 336 and 337:
in the physical world, and not end
Page 339 and 340:
production for production’s sake
Page 341 and 342:
l’art conceptuel michel claura an
Page 343 and 344:
288 1 — The work can be reproduce
Page 345:
290 THE POLITICS OF CONCEPTUAL ART
Page 349 and 350:
postface, in six years: the demater
Page 351:
24 Mierle Laderman Ukeles, Washing,
Page 354 and 355:
thing, or talk; or find ourselves b
Page 356 and 357:
are hit by the social and political
Page 358 and 359:
from taxes and partial funding of t
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
Page 367 and 368:
312 might be centered around my inv
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
Page 380 and 381:
familiar with how “high art” ha
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
Page 400 and 401:
historical way. It is impossible to
Page 402 and 403:
3. I count curators, dealers, and h
Page 404 and 405:
26 Fred Lonidier, The Health and Sa
Page 406 and 407:
sentimental about (American) histor
Page 408 and 409:
a concept of history as involving c
Page 410:
Don’t think that artists are some
Page 413 and 414:
to be bien pensant ...ornottobe.tob
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
Page 454 and 455:
sion was “voiceless,” incapable
Page 456 and 457:
outside of the expected precincts o
Page 458 and 459:
emphasis on material aspects (uniqu
Page 460 and 461:
But each of the above attitudes con
Page 462 and 463:
9. To give one instance, consider t
Page 465 and 466:
statements cildo meireles I remembe
Page 467:
412 work with an object, because th
Page 470 and 471:
wall language becomes an object to
Page 472 and 473:
A nonvisual abstraction such as “
Page 474 and 475:
with the art that these “proto-Mi
Page 476 and 477:
In addition, Duchamp saw the proble
Page 479 and 480:
on conceptual art adrian piper I tu
Page 481:
statement robert barry If there was
Page 484 and 485:
In the early 1970s, in response to
Page 487 and 488:
working with shadows, working with
Page 489 and 490:
434 They were l’air du temps you
Page 491 and 492:
436 careful not to withdraw the obj
Page 493 and 494:
438 it was possible to do a show in
Page 495 and 496:
440 S.S.: I think all art movements
Page 497 and 498:
we aimed to be amateurs art & langu
Page 499 and 500:
444 as to how this amateur might fi
Page 501 and 502:
446 To be sure, these Indexes did n
Page 503:
448 The facts of who did what, how
Page 506 and 507:
was to work on the concept of art,
Page 508 and 509:
M.K.: For me, the impossible object
Page 510 and 511:
cerns around 1980. Sometimes it see
Page 512 and 513:
M.K.: But her work amounts to much
Page 515 and 516:
intention(s) joseph kosuth INTENTIO
Page 517 and 518:
462 the distance between the art hi
Page 519 and 520:
464 the question remains, does the
Page 521 and 522:
466 objects. Just as the grunts and
Page 523:
468 7. Rosalind Krauss, “We Lost
Page 526 and 527:
such an assessment. According to An
Page 528 and 529:
(create) the conditions . . . we ha
Page 530 and 531:
Try and imagine Rockefeller and his
Page 532 and 533:
DOCUMENT VI, 1975 The Anti-Imperial
Page 534 and 535:
6 — What is,who constitutes the
Page 536 and 537:
lated mainly by Corris, Heller and
Page 538 and 539:
Corris, Heller and Menard re-groupe
Page 540 and 541:
NOTES 1. See my “The artist out o
Page 542 and 543:
to Duchamp. It brought me an infusi
Page 544 and 545:
from its inception for New York art
Page 547 and 548:
“dada—situationism/tupamaros—
Page 549 and 550:
494 the ownership imperative and d)
Page 551 and 552:
496 following (Marta Traba for exam
Page 553 and 554:
498 were the economic circumstances
Page 555:
500 ism was a matter of coincidence
Page 558 and 559:
VIII critical histories of conceptu
Page 560 and 561:
to build a critical memorial to tha
Page 562 and 563:
ately around this dynamic, display
Page 564 and 565:
endeavored above all to come to ter
Page 566 and 567:
post-1945 American art is symptomat
Page 568 and 569:
it managed in the process to drive
Page 570 and 571:
on the study of visual objects—ca
Page 572 and 573:
to be given primacy over the visual
Page 574 and 575:
some of the crucial foundations for
Page 576 and 577:
systematically as the representatio
Page 578 and 579:
virtue of the artist declaring the
Page 580 and 581:
early work of Robert Barry (such as
Page 582 and 583:
Wall of Plaster or Wallboard from a
Page 584 and 585:
acts of petit-bourgeois anarchist r
Page 586 and 587:
Mallarmé—in which the first Engl
Page 588 and 589:
experience. In that process it succ
Page 590 and 591:
to the thing at all. There is a cer
Page 592 and 593:
15. Michel Claura, at the time the
Page 594 and 595:
The avant-garde of the late 1960s a
Page 596 and 597:
Modernism. The first assumption is
Page 598 and 599:
Such rewritings are understandable
Page 600 and 601:
the early work of Art & Language an
Page 602 and 603:
political subject matter—was demo
Page 604 and 605:
modernism by restoring distanced se
Page 606 and 607:
For Marchán Fiz, the distinguishin
Page 608 and 609:
ment of New York would play a pivot
Page 610 and 611:
analysis of the self-reflexive or s
Page 612 and 613:
vesting reality with meaning. The r
Page 614 and 615:
5. A glance at the catalogues that
Page 616 and 617:
15. The constitutional government o
Page 619 and 620:
unwritten histories of conceptual a
Page 621 and 622:
566 of visuality” or “suppressi
Page 623 and 624:
568 In Jeff Wall’s view, that iso
show all

Conceptual Art: A Critical Anthology - uncopy

Create successful ePaper yourself

Delete template?

Save as template?