Conceptual Art: A Critical Anthology - uncopy

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It is traditional to expect so–called ordinary things to be identifiable: there is nothing in the instrumental situation which demands identifiability. It may be true that the situation will remain only partially interpreted along many axes: there is a lack of a system of rules like those of correspondence. A “complete” interpretation in terms of operations with sensitive instruments, etc., would amount to showing a veneer over the extended possibilities which the work supports. It is easy to define what is meant by saying that a magnitude which is only “computable” with the help of, say, instruments and one which one can take a ruler to are nonetheless values of the same physical magnitude. It means that the visible or stated relations of the functor to other physical functors are the same. Obviously, anyway, one is still with experience. Ornamental detail in the rooms may be objected to on the grounds that it offers a “strong” experiential competitiveness which would never be supported by the air medium (the competition would never be met). Here, the all-black, all-gray, all-white, etc., environmental situations inform ornamental values. Extremes of air temperature (either very hot or very cold) are cut out for several reasons: one is that to allow the air to become self– importantly hot or cold indicates an insistence upon just one of its properties; another, which is secondary here, is that extremes of high or low temperature make us dwell on tactile experience. Any sound coming from the equipment is not ornamental so long as it is consistent with the functioning of that equipment. Terry Atkinson has written: “Sounds from outside should be eliminated, although sounds from outside kept at a very low level might well be consistent with the superusual quality.” The demand made of the equipment would be that it keep the temperature constant: this is another reason for going inside. Prescriptions which go much further in specifying the dress of the room are mostly useless; it has to be looked at mutatis mutandis. Terms like “neutral” are irrelevant in this context except perhaps with one application— a “social” one. There the term might indicate an absence of the feeling that what was occurring was technologically miraculous (such feelings are engendered by air-conditioning in, say, London, whereas people are used to it in New York). Rubrics like “Non Exhibition,” etc., are not inaccurate, they are just nonsensical. Obviously, there are cases where, for instance, sense is not exhibited, but the usage of the term itself is not similar to the present one. It can’t be said that we are relying on old-fashioned logical postulates (The Bellman’s map in The Hunting of The Snark), 1 or that the experiences offered are in any sense cut down, rather they rely less on the vagaries of a detailed situation. michael baldwin remarks on air-conditioning 33
34 NOTES 1. “Other maps are such shapes, with their islands and capes! But we’ve got our brave captain to thank.” (So the crew would protest) “that he’s bought us the best— A perfect and absolute blank!” This text was first published in <strong>Art</strong>s Magazine, 42:2 (November 1967), pp. 22–23.
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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
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 82 and 83: the visual evidence that they do me
Page 85 and 86: uren, mosset, toroni or anybody mic
Page 87: emarks on air-conditioning: an extr
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
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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
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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
Page 566 and 567:
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
Page 574 and 575:
some of the crucial foundations for
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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
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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
Page 590 and 591:
to the thing at all. There is a cer
Page 592 and 593:
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
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
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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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