Conceptual Art: A Critical Anthology - uncopy

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lucy r. lippard, john chandler, terry atkinson, yvonne rainer, hanne darboven, georges boudaille, maría teresa gramuglio, nicolás rosa
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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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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
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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 101 and 102: the dematerialization of art lucy r
Page 103 and 104: 48 confused with Nihilism except in
Page 105: 50 to find that a generation or mor
Page 108 and 109: . . .The Oxford English Dictionary
Page 110 and 111: tionally recognized as the medium o
Page 112 and 113: usage of aesthetic as the aesthetic
Page 114 and 115: 6 Art & Language (Michael Baldwin),
Page 116 and 117: of action. Perhaps nothing short of
Page 118 and 119: Things have plenty of variations an
Page 121 and 122: interview with daniel buren: art is
Page 123 and 124: 68 In spite of their good intention
Page 125 and 126: 70 art because of its uniqueness. T
Page 127 and 128: 72 I believe that any material can
Page 129 and 130: 74 It’s something not good or bad
Page 131 and 132: tucumán burns maría teresa gramug
Page 133 and 134: 78 refineries, a vital resource in
Page 135 and 136: michel claura, gregory battcock, da
Page 137 and 138: paris commentary michel claura Ther
Page 139 and 140: 84 Because painting is a game, Beca
Page 141 and 142: 86 Any One Else.” “Anyone else
Page 143 and 144: painting is obsolete gregory battco
Page 145: 9 Luis Camnitzer, Dictionary, 1969.
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Everybody has their private part (p
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Dan Graham, Detumescence, 1969.
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Suppose the following hypothesis is
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succession of new movements has bec
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limits and the limit of what can be
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sentences on conceptual art sol lew
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108 32 — Banal ideas cannot be re
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dialogue ian burn 1 — Artists are
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dialogue piece lee lozano (Started
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114 doing. He put his ideas into ar
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116 you for a dialogue. Love, Lozan
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118 here but I tell him at present
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12 Lee Lozano, General Strike Piece
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Maintenance: keepthe dust off the p
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—what you think maintenance is;
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experimental. We hope that those wh
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ation; programming and planning wer
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out a quick and highly realistic
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The crisis facing the large officia
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13 Douglas Huebler, Duration Piece
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the whole structure of our society.
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The nonrevolutionary artist is expe
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introduction to konzeption/concepti
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eware daniel buren This text was wr
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146 comes to the same thing as putt
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148 looked at, or, if you like, a m
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150 its very uniqueness with a symb
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152 will be conserved. The imprint
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154 paragraphs, leads us to questio
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156 be (can only be) epistemologica
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art after philosophy joseph kosuth
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160 He continues: One consequence o
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162 It is necessary to separate aes
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164 propositions or “work” whic
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166 Indeed, it is nearly impossible
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168 no absolutely certain empirical
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170 is not itselfa proposition ofth
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172 superficial aspect of this “f
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174 a mapof a 36-square-mile area o
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176 4. Sir James Jeans, Physics and
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introduction to 557,087 lucy r. lip
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180 Sense of place varies: Baxter c
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182 People deny that words have any
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184 man....Since your and their exp
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ian burn, mel bochner, charles harr
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conceptual art as art ian burn This
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190 ideas beyond the limits of visu
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that the need to identify with obje
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half dreams seem particularly unatt
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An 18-inch stool is set up in my ap
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exhibition situation begins to assu
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you do. C. H.: This holds good as l
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2. “When Attitudes Become Form”
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Operative: this word only has meani
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of critical or art-historical thoug
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16 General Idea, Orgasm Energy Char
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It is within these premises that mo
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to be provincial, or to exist only
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17 Hans Haacke, MOMA-Poll, 1970.
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computer programs function through
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isn’t in circumventing the commer
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whether it is a work of art or not.
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18 Mary Kelly, untitled event at th
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The examples only show fragments of
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One of the decisions that places th
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The first one, moderate, is to cont
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insertions in ideological circuits
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michel claura, jeanne siegel, victo
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interview with lawrence weiner mich
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238 L.W.: The fact ofbuying one ofm
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an interview with hans haacke jeann
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244 the concept ofchange has been t
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246 Ricans. Puerto Ricans and black
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Modernist works are obvious candida
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concepts, familiar to us in diagram
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channels: “. . . our ordinary exp
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3. A photograph of a bridge is a pi
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propositions terry smith 1. Paintin
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260 are in the world. And, in doing
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interview with art-language catheri
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264 necessary aspect ofart. On the
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21 Art & Language, Index 01, 1972,
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I’m not a poet andI’m consideri
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imaginative transformation ofinitia
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great deal ofcompetitive energy. (T
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formula purveyed for its own sake.
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hang-ups about money, practicality,
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cultural confinement robert smithso
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282 still depend on the wreckage of
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produce art objects, idea objects,
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an object that one should be able t
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Their European “colleagues” und
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Mel Bochner, Axiom of Indifference,
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still more important, sets up new c
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in support of meta-art adrian piper
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300 emergence ofthe art. It is all
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all the “art” that’s fit to s
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304 So-called “avant-garde art”
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VI 1975-1977
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function of our work may be defined
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are crucially determined both in co
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to adequately comprehend and respon
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assumptions regarding formal requis
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not so much to regulate our cultura
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the art market: affluence and degra
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322 rejection of a per-hour value b
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324 As a result, the market has evo
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326 was reminiscent of the old comp
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328 product of our labor, our abili
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330 1974), I am simultaneously appa
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332 in a world economy no longer wh
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1975 joseph kosuth 1. Art changes o
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336 Typical of most recent art “m
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338 evolved from our work. Such a r
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340 operating, continually changing
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342 to force meaning to be dependen
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344 issues anchored in the specific
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346 interpretation of tradition. It
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348 asks no questions—even about
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having-your-heart-in-the-right-plac
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352 mation) free of complacent “b
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the timeless lumpenness of a radica
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Victor Burgin, Think About It, 1976
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I have discovered nothing here, not
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presentational circumstances. Consi
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of the framing discourse is masked,
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DRAGGING UP OLD ARGUMENTS AND MARKE
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The eradication of craft skills and
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Yet this inability to speak truth i
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it was founded. This is primarily t
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antagonistic relationship with the
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29 Michael Corris, cover image for
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Moreover the misapprehension reveal
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unique and specific work which coul
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the commodity status, acquiring exc
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come art’s subject matter. Ahead
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detail when confronted with the wor
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either notion in its acute and nece
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ian burn, cildo meireles, ian wilso
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the ’sixties: crisis and aftermat
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394 responsibility was surfacing. I
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396 became the power it could refle
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398 which might be acquired as prop
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400 Colorfield or Minimalism. The o
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402 ity for articulating these idea
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404 The 1960s were a time when Mars
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406 1960), can be located as a key
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408 16. As a dealer in the late 196
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tion. In other words, there the “
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conceptual art ian wilson The diffe
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416 True conceptual art moves beyon
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my works for magazine pages: “a h
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420 I believe that art is shedding
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422 connoisseurs, writers, they all
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focused on political content, speci
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yes, difference again: what history
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430 understood in New York, even by
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for people of my generation, even i
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almost nothing to do with aesthetic
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The relationship is very, very clos
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and galleries became more and more
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art, questioning objects. In 1980,
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their more conspicuous adult life.
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This means that all or most claims
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away occurred even when (though thi
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a conversation about conceptual art
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452 that time) together with the ca
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454 it had to linguistic theories i
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456 even generating, some kind of d
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458 M.K.: Well, in one sense that d
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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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