Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson.
Material type:
TextSeries: Themes and movementsPublication details: Cambridge, Mass. : MIT Press, c1999.Description: lii, 569 p. : il. ; 23 cmISBN: - 0262511177
- 9780262511179
- 0262011735
- 9780262011730
- Alberro, Alexander
- Stimson, Blake
- 709.04075 ALB
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 709.04075 ALB (Browse shelf(Opens below)) | 1 | Available | 39002100398248 |
Enhanced descriptions from Syndetics:
This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the conceptual art movement.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This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement.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 These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews.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, Raol 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, Helio 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
Includes bibliographical references and index.
Table of contents provided by Syndetics
- Illustrations (p. xii)
- Preface (p. xiv)
- Reconsidering Conceptual Art, 1966-1977 (p. xvi)
- The Promise of Conceptual Art (p. xxxviii)
- I 1966-1967
- A Media Art (Manifesto) (p. 2)
- Compositions for Audio Structures (p. 6)
- Position and Program (p. 8)
- Paragraphs on Conceptual Art (p. 12)
- Excerpt from Placement as Language (1928) (p. 18)
- The Serial Attitude (p. 22)
- Statement (p. 28)
- Buren, Mosset, Toroni or Anybody (p. 30)
- Remarks on Air-Conditioning: An Extravaganza of Blandness (p. 32)
- A Defense of the "Conceptual" Process in Art (p. 36)
- General Scheme of the New Objectivity (p. 40)
- II 1968
- The Dematerialization of Art (p. 46)
- Concerning the Article "The Dematerialization of Art" (p. 52)
- Statement (p. 60)
- Statement to Lucy Lippard (p. 62)
- Interview with Daniel Buren: Art Is No Longer Justifiable or Setting the Record Straight (p. 66)
- Tucuman Burns (p. 76)
- III 1969
- Paris Commentary (p. 82)
- Painting Is Obsolete (p. 88)
- Art Workers' Coalition Open Hearing Presentation (p. 92)
- Introduction (p. 98)
- Sentences on Conceptual Art (p. 106)
- Dialogue (p. 110)
- Dialogue Piece (p. 112)
- Maintenance Art Manifesto, Proposal for an Exhibition, "CARE" (p. 122)
- Patron's Statement for "When Attitudes Become Form" (p. 126)
- Politics and the Avant-Garde (p. 128)
- Art Tamed and Wild (p. 136)
- Introduction to Konzeption/Conception (p. 142)
- Beware (p. 144)
- Art After Philosophy (p. 158)
- Introduction to 557,087 (p. 178)
- IV 1970
- Conceptual Art as Art (p. 188)
- Excerpts from Speculation (1967-1970) (p. 192)
- On Exhibitions and the World at Large (p. 198)
- Notes Towards Art Work (p. 204)
- Introduction to Art in the Mind (p. 210)
- Introduction to Information (p. 212)
- Alice's Head: Reflections on Conceptual Art (p. 216)
- De-aestheticization (p. 220)
- Contemporary Colonial Art (p. 224)
- Insertions in Ideological Circuits (p. 232)
- V 1971-1974
- Interview with Lawrence Weiner (p. 236)
- An Interview with Hans Haacke (p. 242)
- Rules of Thumb (p. 248)
- Propositions (p. 258)
- Interview with Art-Language (p. 262)
- The Trouble with Art-as-Idea (p. 268)
- Cultural Confinement (p. 280)
- Production for Production's Sake (p. 284)
- L'art conceptuel (p. 286)
- Postface, in Six Years: The Dematerialization of the Art Object, 1966 to 1972 (p. 294)
- In Support of Meta-Art (p. 298)
- All the "Art" That's Fit to Show (p. 302)
- VI 1975-1977
- A Declaration of Dependence (p. 308)
- The Art Market: Affluence and Degradation (p. 320)
- 1975 (p. 334)
- Having-Your-Heart-in-the-Right-Place-Is-Not-Making-History (p. 350)
- The Timeless Lumpenness of Radical Cultural Life (p. 354)
- To Be bien pensant ... or Not to Be. To Be Blind (p. 358)
- Documentary and Corporate Violence (p. 360)
- To Argue for a Video of Representation. To Argue for a Video Against the Mythology of Everyday Life (p. 366)
- Notes on Reading the Post-Partum Document (p. 370)
- Moments of History in the Work of Dan Graham (p. 376)
- VII Memoirs of Conceptual Art
- The 'Sixties: Crisis and Aftermath (or the Memoirs of an Ex-Conceptual Artist) (p. 392)
- Statements (p. 410)
- Conceptual Art (p. 414)
- My Works for Magazine Pages: "A History of Conceptual Art" (p. 418)
- On Conceptual Art (p. 424)
- Statement (p. 426)
- Yes, Difference Again: What History Plays the First Time Around as Tragedy, It Repeats as Farce (p. 428)
- Working with Shadows, Working with Words (p. 432)
- We Aimed to Be Amateurs (p. 442)
- A Conversation About Conceptual Art, Subjectivity and the Post-Partum Document (p. 450)
- Intention(s) (p. 460)
- Inside a New York Art Gang: Selected Documents of Art and Language, New York (p. 470)
- Statement (p. 486)
- "Dada--Situationism/Tupamaros--Conceptualism": An Interview with Luis Camnitzer (p. 492)
- VIII Critical Histories of Conceptual Art
- Dan Graham's Kammerspiel (p. 504)
- Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions (p. 514)
- Conceptual Art and Critical Judgement (p. 538)
- The Logic of Modernism (p. 546)
- Blueprint Circuits: Conceptual Art and Politics in Latin America (p. 550)
- Unwritten Histories of Conceptual Art (p. 564)
Author notes provided by Syndetics
Alexander Alberro is Assistant Professor of Art History at the University of Florida, Gainesville.Blake Stimson is Assistant Professor of Art History at the University of California, Davis.