Conceptual Art: A Critical Anthology

Conceptual Art: A Critical Anthology

Alexander Alberro

Language: English

Pages: 624

ISBN: 0262511177

Format: PDF / Kindle (mobi) / ePub

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This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement.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 These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews.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

The Engravings of Giorgio Ghisi

The Artificial Empire: The Indian Landscapes of William Hodges

Michelangelo: La scultura (Art dossier Giunti)

American Landscapes as Revisionist History: The Frontier Photographs of Mark Klett, John Pfahl, Deborah Bright and Robert Adams

The Stage and Social Struggle in Early Modern England

The Painted Word













happened, with pictures taken Therefore there is a triple creation: — the formation of the false report — the transmission of the report through the existing channels of information1 This way we take on the ultimate characteristic of the media: the de-realization of objects. In this way the moment of transmission of the work of art is more privileged than its production. The creation consists of liberating its production from its transmission. a media art (manifesto) — the reception by the

convert it into an idea.) This kind of art, then, should be stated with the most economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the artist chooses, the form being unimportant. These paragraphs are not intended as categorical imperatives but the ideas stated are as close as possible to my thinking at this time.3 These ideas are the result of my work as an artist 15 and

be confused with what is displayed. There is the painting, and there is the packaging: I claim the latter because it is consistent with the former. Consequently, the packaging is acceptable because the painting is justifiable. Besides this, and as a point of comparison, I will say that art is only packaging. . . . This interview was first published as “Entretien avec Daniel Buren: L’art n’est plus justifiable ou les points sur les ‘i’,” in Les Lettres Francaises (Paris, 13 March 1968), pp. 28–29.

(written or spoken), to physical reality, equally. 16 — If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics. 17 — All ideas are art if they are concerned with art and fall within the conventions of art. 18 — One usually understands the art of the past by applying the conventions of the present thus misunderstanding the art of the past. 19 — The conventions of art are altered by works of art. 20 — Successful art changes our

restate certain phrases or to go more thoroughly into certain particular points with respect to the original text. Alterations or additions to the original are set in italics and placed in square brackets. I. WARNING A concept may be understood as being “the general mental and abstract representation of an object” (see Le Petit Robert Dictionary; “an abstract general notion of conception”—Dictionary of the English Language). Although this word is a matter for philosophical discussion, its meaning

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