In comparison to different avant-garde routine that emerged within the Nineteen Sixties, conceptual artwork has acquired particularly little severe cognizance by way of artwork historians and critics of the earlier twenty-five years—in half a result of tough, highbrow nature of the artwork. This loss of cognizance is very amazing given the large impact of conceptual paintings at the artwork of the final fifteen years, on severe dialogue surrounding postmodernism, and at the use of thought via artists, curators, critics, and historians.
This landmark anthology collects for the 1st time the main old records that helped supply definition and goal to the circulation. It additionally comprises newer memoirs through members, in addition to severe histories of the interval via a few of today’s prime artists and artwork historians. a number of the essays and artists’ statements were translated into English in particular for this quantity. a significant portion of the alternate among artists, critics, and theorists happened in difficult-to-find limited-edition catalogs, small journals, and personal correspondence. those influential records are collected the following for the 1st time, besides a couple of formerly unpublished essays and interviews.
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Extra info for Conceptual Art: A Critical Anthology
See “Joseph Kosuth: Art as Idea as Idea,” in Jeanne Siegel, Artwords: Discourse on the 60s and 70s (New York: Da Capo, 1985), p. 228. 14. Sol LeWitt, “Paragraphs on Conceptual Art” (1967), reprinted in part I of this volume. 15. Patsy Norvell, interview with Sol LeWitt, 10 April 1969, unpublished (in Patsy Norvell archives, New York: “LeWitt: This kind of art that I’m doing, I don’t think of it as being rational at all. I think of it as being irrational. Formalist art, where the artist decides and makes decisions all the way down the line, that’s a rationalistic kind of way of thinking about art.
The birth of the reader must be ransomed xxxiv 26. In a 1969 interview with Ursula Meyer, Weiner described the program of production and distribution of his work: “People . . can take [my work] wherever they go and can rebuild it if they choose. If they keep it in their heads, that’s ﬁne too. They don’t have to buy it to have it— they can have it just by knowing it. ” Ursula Meyer, “Lawrence Weiner, October 12, 1969,” in Conceptual Art (New York: Dutton, 1972), p. 217. 27. See Benjamin H. D.
42 In particular, what artists such as Fred Lonidier, Martha Rosler, Allan Sekula, and Phil Steinmetz consider problematic in the work produced by the ﬁrst model, and, though to a lesser extent, by that of Burgin, Holzer, Kelly, and Kruger, is precisely that in their collapse of individual subjectivity and overdetermined patterns of behavior, they deny authorial intervention and political agency. Echoing the artistic practices of Latin American conceptualists of the 1960s, as well as that of many of the artists involved with The Fox and the activist Artists Meeting for Cultural Change in New York in the 1970s, the implication of the work of Loni- reconsidering conceptual art, 1966–1977 turn a point of view that the latter share with the ﬁrst group of post-conceptual artists discussed above—namely, that all art is dependent upon preestablished discursive structures and institu- alexander alberro always already constructed.
Conceptual Art: A Critical Anthology