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Author : Alexander Alberro
Publisher : MIT Press
Page : 258 pages
File Size : 42,6 Mb
Release : 2003
Category : Art
ISBN : 0262511843
An examination of the origins and legacy of the conceptual art movement.
Author : Alexander Alberro,Blake Stimson
Publisher : MIT Press
Page : 628 pages
File Size : 44,5 Mb
Release : 2000-08-25
Category : Design
ISBN : 0262511177
This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement. Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson
Author : Alexander Alberro,Sabeth Buchmann
Publisher : MIT Press
Page : 248 pages
File Size : 40,7 Mb
Release : 2006-10-27
Category : Art
ISBN : UCSD:31822035442805
Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s. Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art. Distributed for the Generali Foundation, Vienna.
Author : Dan Graham
Publisher : MIT Press
Page : 228 pages
File Size : 41,7 Mb
Release : 1999
Category : Architecture
ISBN : 0262571307
Essays charting the diverse works of renowned conceptual artist Dan Graham.
Author : Michael Newman,Jon Bird
Publisher : Reaktion Books
Page : 266 pages
File Size : 53,7 Mb
Release : 1999-12
Category : Art
ISBN : 1861890524
"An international movement that developed along separate but parallel lines in Europe and America during the 1970s, Conceptual Art grew out of the legacy of Marcel Duchamp. Aiming to completely redefine the relationships between the production, definition and ownership of artworks and their various audiences, Conceptual artists rejected traditional formats, media and definitions. Instead they chose to address some of the key issues underlying modern life and art. Thse included the gulf between initial idea and finished work, the value assigned works of art in modern economies, the role of women and of feminine creativity in general, the politics of exhibition organization - in short, the ways art and the art world have been defined for centuries. Among the notable figures whose work is discussed in essays ranging from the evaluative to the theoretical are Judy Chicago, Robert Morris, Sol LeWitt, Marcel Broodthaers and Mary Kelly. The influence of Conceptual Art continues to be felt today in the work of such controversial young artists as Rachel Whiteread and Damien Hirst." - back cover.
Author : Michalis Pichler
Publisher : Unknown
Page : 127 pages
File Size : 45,9 Mb
Release : 2016
Category : Art publishing
ISBN : 3956792440
Seth Siegelaub, (b. 19412013, New York) curator, gallery owner and author is best known for his promotion of conceptual art in New York during the 1960s and 70s. Books and Ideas after Seth Siegelaub looks at the books produced by Siegelaub in the 60s and their renewed influence on artists and their publications today. Pichler, curator of the exhibition at the Center for Book Arts NY (2013), offers this catalog as a window into an ongoing conceptual discourse with Siegelaubs books as the platform. Extensive illustrations and bibliographic details are featured including Siegelaubs Xerox Book (1968), which was printed in offset but has since been xeroxed and openly reproduced by numerous artists and publishers. His publications, often taken as starting points for new projects, are substantial artworks in their own right. Also included: Siegelaubs work with the Art Workers Coalition, a draft of The Artists Reserved Rights Transfer and Sale Agreement on contemporary art and activism, and a last interview with Siegelaub by Pichler.
Author : Christopher Howard
Publisher : MIT Press
Page : 413 pages
File Size : 50,6 Mb
Release : 2018-10-09
Category : Art
ISBN : 9780262038461
An examination of a 1970s Conceptual art project—advertisements for fictional shows by fictional artists in a fictional gallery—that hoodwinked the New York art world. From the summer of 1970 to March 1971, advertisements appeared in four leading art magazines—Artforum, Art in America, Arts Magazine, and ARTnews—for a group show and six solo exhibitions at the Jean Freeman Gallery at 26 West Fifty-Seventh Street, in the heart of Manhattan's gallery district. As gallery goers soon discovered, this address did not exist—the street numbers went from 16 to 20 to 24 to 28—and neither did the art supposedly exhibited there. The ads were promoting fictional shows by fictional artists in a fictional gallery. The scheme, eventually exposed by a New York Times reporter, was concocted by the artist Terry Fugate-Wilcox as both work of art and critique of the art world. In this book, Christopher Howard brings this forgotten Conceptual art project back into view. Howard demonstrates that Fugate-Wilcox's project was an exceptionally clever embodiment of many important aspects of Conceptualism, incisively synthesizing the major aesthetic issues of its time—documentation and dematerialization, serialism and process, text and image, publishing and publicity. He puts the Jean Freeman Gallery in the context of other magazine-based work by Mel Bochner, Judy Chicago, Yoko Ono, and Ed Ruscha, and compares the fictional artists' projects with actual Earthworks by Walter De Maria, Peter Hutchinson, Dennis Oppenheim, and more. Despite the deadpan perfection of the Jean Freeman Gallery project, the art establishment marginalized its creator, and the project itself was virtually erased from art history. Howard corrects these omissions, drawing on deep archival research, personal interviews, and investigation of fine-printed clues to shed new light on a New York art world mystery.
Author : Robert C. Morgan
Publisher : Umbrella Editions
Page : 76 pages
File Size : 48,7 Mb
Release : 1992
Category : Art
ISBN : UOM:39015029574632
Author : Gwen Allen
Publisher : MIT Press
Page : 377 pages
File Size : 45,7 Mb
Release : 2015-08-21
Category : Art
ISBN : 9780262528412
How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others. Among the magazines Allen examines are Aspen (1965–1971), a multimedia magazine in a box—issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.
Author : Alexander Alberro,Blake Stimson
Publisher : MIT Press
Page : 511 pages
File Size : 48,9 Mb
Release : 2011-09-30
Category : Art
ISBN : 9780262516648
An anthology of writings and projects by artists who developed and extended the genre of institutional critique. "Institutional critique” is an artistic practice that reflects critically on its own housing in galleries and museums and on the concept and social function of art itself. Such concerns have always been a part of modern art but took on new urgency at the end of the 1960s, when—driven by the social upheaval of the time and enabled by the tools and techniques of conceptual art—institutional critique emerged as a genre. This anthology traces the development of institutional critique as an artistic concern from the 1960s to the present by gathering writings and representative art projects of artists from across Europe and throughout the Americas who developed and extended the genre. The texts and artworks included are notable for the range of perspectives and positions they reflect and for their influence in pushing the boundaries of what is meant by institutional critique. Like Alberro and Stimson's Conceptual Art: A Critical Anthology this volume will shed new light on its subject through its critical and historical framing. Even readers already familiar with institutional critique will come away from this book with a greater and often redirected understanding of its significance. Artists represented include Wieslaw Borowski, Daniel Buren, Marcel Broodthaers, Groupe de Recherche d'Art Visuel, Hans Haacke, Robert Smithson, John Knight, Graciela Carnevale, Osvaldo Mateo Boglione, Guerilla Art Action Group, Art Workers' Coalition, Mierle Laderman Ukeles, Michael Asher, Mel Ramsden, Adrian Piper, The Guerrilla Girls, Laibach, Silvia Kolbowski, Andrea Fraser, Fred Wilson, Mark Dion, Maria Eichhorn, Critical Art Ensemble, Bureau d'Études, WochenKlausur, The Yes Men, Hito Steyerl, Andreas Siekmann.
Author : Patrick Greaney
Publisher : U of Minnesota Press
Page : 213 pages
File Size : 43,7 Mb
Release : 2014-03-01
Category : Art
ISBN : 9781452941240
Literature and art have always depended on imitation, and in the past few decades quotation and appropriation have become dominant aesthetic practices. But critical methods have not kept pace with this development. Patrick Greaney reopens the debate about quotation and appropriation, shifting away from naïve claims about the death of the author. In interpretations of art and literature from the 1960s to the present, Quotational Practices shows how artists and writers use quotation not to undermine authorship and originality, but to answer questions at the heart of twentieth-century philosophies of history. Greaney argues that quotation is a technique employed by art and philosophy to build ties to the past and to possible futures. By exploring quotation’s links to gender, identity, and history, he offers new approaches to works by some of the most influential modern and contemporary artists, writers, and philosophers, including Walter Benjamin, Guy Debord, Michel Foucault, Marcel Broodthaers, Glenn Ligon, Sharon Hayes, and Vanessa Place. Ultimately, Quotational Practices reveals innovative perspectives on canonical philosophical texts as well as art and literature in a wide range of genres and mediums—from concrete poetry and the artist’s book to performance, painting, and video art.
Author : Hans Haacke
Publisher : MIT Press
Page : 343 pages
File Size : 41,8 Mb
Release : 2016-10-21
Category : Art
ISBN : 9780262034838
Texts by Hans Haacke that range from straightforward descriptions of his artworks to wide-ranging reflections on the relationship between art and politics. Hans Haacke's art articulates the interdependence of multiple elements. An artwork is not merely an object but is also its context—the economic, social, and political conditions of the art world and the world at large. Among his best-known works are MoMA-Poll (1970), which polled museumgoers on their opinions about Nelson Rockefeller and the Nixon administration's Indochina policy; Gallery-Goers' Birthplace and Residence Profile (1969), which canvassed visitors to the Howard Wise Gallery in Manhattan; and the famously canceled 1971 solo exhibition at the Guggenheim Museum, which was meant to display, among other things, works on two New York real estate empires. This volume collects writings by Haacke that explain and document his practice. The texts, some of which have never before been published, run from straightforward descriptions to wide-ranging reflections and full-throated polemics. They include correspondence with MoMA and the Guggenheim and a letter refusing to represent the United States at the 1969 São Paulo Biennial; the title piece, “Working Conditions,” which discusses corporate influence on the art world; Haacke's thinking about “real-time social systems”; and texts written for museum catalogs on various artworks, including GERMANIA, in the German Pavilion of the 1993 Venice Biennial; DER BEVÖLKERUNG (To the Population) of 2000 at the Berlin Reichstag; Mixed Messages, an exhibition of objects from the Victoria and Albert Museum (2001); and Gift Horse, unveiled on the fourth plinth in Trafalgar Square in 2015.
Author : Sven Lütticken
Publisher : Nai010 Publishers
Page : 232 pages
File Size : 53,6 Mb
Release : 2005
Category : Art
ISBN : UOM:39015063337284
Secret Publicity~ISBN 90-5662-467-9 U.S. $32.50 / Paperback, 5.25 x 7.75 in. / 208 pgs / 38 b&w. ~Item / March / Art
Author : Paul O'Neill
Publisher : MIT Press
Page : 195 pages
File Size : 52,6 Mb
Release : 2016-09-02
Category : Art
ISBN : 9780262529747
How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions—large-scale, temporary projects with artworks cast as illustrative fragments—came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated—and authorized—the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.
Author : Noah Horowitz
Publisher : Princeton University Press
Page : 400 pages
File Size : 55,6 Mb
Release : 2014-08-31
Category : Art
ISBN : 9781400836444
An eye-opening look at collecting and investing in today’s art market Art today is defined by its relationship to money as never before. Prices have been driven to unprecedented heights, conventional boundaries within the art world have collapsed, and artists think ever more strategically about how to advance their careers. Art is no longer simply made, but packaged, sold, and branded. In Art of the Deal, Noah Horowitz exposes the inner workings of the contemporary art market, explaining how this unique economy came to be, how it works, and where it's headed. In a new postscript, Horowitz reflects on the market’s continued ascent as well as its most urgent challenges.