This collection of essays offers readers a wealth of research on the earliest international exhibitions of Conceptual art, interpretation of some of its most important practitioners, and a consideration of the relationship between conceptual art and the intellectual and social context of the 1960s and 1970s.
This collection of essays offers readers a wealth of research on the earliest international exhibitions of Conceptual art, interpretation of some of its most important practitioners, and a consideration of the relationship between conceptual art and the intellectual and social context of the 1960s and 1970s.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction: 'An Invisible College in an Anglo-American World'; Part I. Artists, Object, Spectator: 1. The formalist connection and originary myths of Conceptual art Frances Colpitt; 2. Content, context and conceptual art: Dan Graham's Schema Alex Aberro; 3. 'Almost not photography' Melanie Mariño; 4. Soft talk/soft tape: the early collaborations of Ian Burn and Mel Ramsden Ann Stephen; Part II. Display: 5. The second degree: working drawings and other visible things on paper not necessarily meant to be viewed as art James Meyer; 6. When Attitudes become Form and the contest over Conceptual art's history Alison Green; 7. Understanding Information Ken Allan; 8. 'The rotting sack of humanism': Robert Morris and authorship Richard J. Williams; Part III. Recoding Information, Knowledge, and Technology: 9. Affluence, taste and the brokering of knowledge: notes on the social context of early conceptual art Robert Hobbs; 10. Hanne Darboven: seriality and the time of solitude Briony Fer; 11. Art in the information age: technology and Conceptual art Edward A. Shanken; 12. The crux of conceptualism: Conceptual art, the Idea of idea and the information paradigm Johanna Drucker; Part IV. The Limit of the Social: 13. Conceptual work and conceptual waste Blake Stimson; 14. Conceptual art and imageless truth John Roberts; 15. New York discusses its social relations in 'The lumpen Headache' Chris Gilbert; 16. Ian Burn's conceptualism Adrian Piper.
Introduction: 'An Invisible College in an Anglo-American World'; Part I. Artists, Object, Spectator: 1. The formalist connection and originary myths of Conceptual art Frances Colpitt; 2. Content, context and conceptual art: Dan Graham's Schema Alex Aberro; 3. 'Almost not photography' Melanie Mariño; 4. Soft talk/soft tape: the early collaborations of Ian Burn and Mel Ramsden Ann Stephen; Part II. Display: 5. The second degree: working drawings and other visible things on paper not necessarily meant to be viewed as art James Meyer; 6. When Attitudes become Form and the contest over Conceptual art's history Alison Green; 7. Understanding Information Ken Allan; 8. 'The rotting sack of humanism': Robert Morris and authorship Richard J. Williams; Part III. Recoding Information, Knowledge, and Technology: 9. Affluence, taste and the brokering of knowledge: notes on the social context of early conceptual art Robert Hobbs; 10. Hanne Darboven: seriality and the time of solitude Briony Fer; 11. Art in the information age: technology and Conceptual art Edward A. Shanken; 12. The crux of conceptualism: Conceptual art, the Idea of idea and the information paradigm Johanna Drucker; Part IV. The Limit of the Social: 13. Conceptual work and conceptual waste Blake Stimson; 14. Conceptual art and imageless truth John Roberts; 15. New York discusses its social relations in 'The lumpen Headache' Chris Gilbert; 16. Ian Burn's conceptualism Adrian Piper.
Rezensionen
'... these contributions open up a welcome historiography of this period.' Art Monthly
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