DOCSLIB.ORG

On Perceiving Conceptual Art.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Perceiving Conceptual Art.Pdf Philosophy and Conceptual Art This page intentionally left blank Philosophy and Conceptual Art Edited by Peter Goldie and Elisabeth Schellekens CLARENDON PRESS · OXFORD 1 Great Clarendon Street, Oxford ox26dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © the several contributors 2007 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Typeset by Laserwords Private Limited, Chennai, India Printed in Great Britain on acid-free paper by Biddles Ltd, King’s Lynn, Norfolk ISBN 978–0–19–928555–6 13579108642 CONTENTS List of Illustrations vii Introduction ix Peter Goldie and Elisabeth Schellekens Part I: Conceptual Art as a Kind of Art 1 1. On Perceiving Conceptual Art 3 Peter Lamarque 2. The Dematerialization of the Object 18 Derek Matravers 3. Visual Conceptual Art 33 Gregory Currie 4. Speaking Through Silence: Conceptual Art and Conversational Implicature 51 Robert Hopkins Part II: Conceptual Art and Aesthetic Value 69 5. The Aesthetic Value of Ideas 71 Elisabeth Schellekens 6. Kant After LeWitt: Towards an Aesthetics of Conceptual Art 92 Diarmuid Costello vi / Contents Part III: Conceptual Art, Knowledge and Understanding 117 7. Matter and Meaning in the Work of Art: Joseph Kosuth’s One and Three Chairs 119 Carolyn Wilde 8. Telling Pictures: The Place of Narrative in Late Modern ‘Visual Art’ 138 David Davies 9. Conceptual Art and Knowledge 157 Peter Goldie 10. Sartre, Wittgenstein, and Learning from Imagination 171 Kathleen Stock Part IV: Appreciating Conceptual Art 195 11. Artistic Character, Creativity, and the Appraisal of Conceptual Art 197 Matthew Kieran 12. Creativity and Conceptual Art 216 Margaret A. Boden 13. Conceptual Art Is Not What It Seems 238 Dominic McIver Lopes 14. Emergency Conditionals 257 Art & Language Index 267 LIST OF ILLUSTRATIONS 1. Jenny Holzer, Truisms, 1978–87. Digital image © 2007, The Museum of Modern Art/Scala, Florence/© ARS, NY and DACS, Landon 2007. 2. Michael Craig-Martin, An Oak Tree, 1973. © Tate 2007. 3. Marcel Duchamp, Fountain, 1917. Photo by Alfred Stieglitz from the peri- odical ‘‘The Blind Man’’, Beatrice Wood. Philadelphia Museum of Art © Photo Scala, Florence, © Succession Marcel Duchamp/ADAGP, Paris and DACS, London 2007. 4. Bruce Nauman, One Hundred Live and Die, 1984. Neon tubing with clear × 1 × . × . × glass tubing on metal monolith; 118 132 4 21 inches (299 7 335 9 53.3 cm). Collection Benesse Corporation, Naoshima Contemporary Art Museum, Kagawa Courtesy Sperone Westwater, New York. © ARS, NY and DACS, London 2007. 5. Joseph Kosuth, One and Three Chairs, 1965. © ARS, NY and DACS, London 2007. Digital Image © The Museum of Modern Art/SCALA, Florence. 6. Art–Language, Index 01 (Art and Language, Index 001) (aka Kassel Index), 1972. By permission of the Lisson Gallery, London. 7. Robert Barry, Inert Gas Series: Argon, 1969. By permission of the artist. (From a measured volume to indefinite expansion on March 4, 1969 on a beach in Santa Monica, California, one litre of argon was returned to the atmosphere. Documentation: Catalogue page, diapositive, two colour photographs framed.) Collection Elisabeth & Gerhard Sohst in the Hamburger Kunsthalle, Hamburg, Germany. Photo Bridgeman Art Library. 8. Sol LeWitt, Wall Drawing No. 623, 1989. National Gallery of Canada, Ottawa. © ARS, NY and DACS, London 2007. 9. Adrian Piper, Catalysis IV, 1970–1. By permission of the artist. viii / List of Illustrations 10. Santiago Sierra, Space Closed by Corrugated Metal, 2002. By permission of the Lisson Gallery, London. 11. Walter De Maria: Vertical Earth Kilometer, 1977. Kassel, Germany. Photo by N.C. Tenwiggenhorn. © Dia Center for the Arts. 12. Keith Arnatt, Trouser-Word Piece, 1972–89. © Tate 2007. Introduction Peter Goldie and Elisabeth Schellekens Philosophy and Conceptual Art Art devoid of ideas is seldom good art. Ideas can wear many guises in an artistic context: they can be highly focused and convey one specific concern (such as the idea of the threat of domestic violence), or, alternatively, they can be quite indefinite (such as the idea of the wilderness of nature as evocative of the sub- lime). There are, in fact, many different kinds of ideas that can be conveyed by art,andsotheclaimthatgoodartshouldinvolveideasneednotimplythatonly artwhichsetsouttocommunicatespecificthoughtsisworthyofourattention. However, there is one artistic movement which has claimed that art should invariably aim to engage its audience intellectually, and, moreover, that it need not do so aesthetically or emotionally. Art, on this view, should aim to be ‘of the mind’, not simply because it demands a primarily intellectual approach, but also because such artwork is best understood as an idea. The purpose of art, according to this movement, is analytic, and as such, art is in the business of creating and transmitting ideas. Artists are authors of meaning rather than skilled craftsmen, since it is the idea, and not the art object, that is at the heart of artistic experience. With a plethora of bold claims such as these, the conceptual art movement placed itself firmly within a stream of controversy from its very outset.¹ ¹ Although the first publication to use the expression ‘Conceptual Art’ appears in Sol LeWitt’s ‘Paragraphs on Conceptual Art’ (1967), Henry Flynt was already exploring the idea in his ‘Essay: x / Introduction And like other avant-garde movements before it, it not only welcomed but partly instigated the tumultuous debate that was to engulf much of the Western art world from the late 1960s onwards by posing questions such as ‘What kind of thing can qualify as art?’, ‘Must art be beautiful?’, and ‘What is the role of artists?’ Despite their considerable diversity, the multitude of manifestos, mission statements, projects, and discussions that emerged from this movement can all be said to share this one central tenet: in art, the ‘idea is king’.² In conceptual art, that is, the concepts or ideas constitute the artworks’ ‘material’.³ In the process of redefining art-making and art appreciation in terms of a primarily intellectual process, many artists working in the conceptual tradition have drawn, and continue to draw, on philosophical theories and debates. Frequent appeals are made to philosophers from both the Anglo- Saxon and Continental perspectives: Wittgenstein, Carnap, Austin, Kuhn, Barthes, Althusser, Benjamin, Foucault, Lacan, Saussure, and many others.⁴ Many conceptual artists even go further, claiming that conceptual art and philosophy are in much the same business, so that even if they approach their subject matter from different angles, there is considerable overlap in the questions explored by the two disciplines. One conceptual artist and writer, Joseph Kosuth, even heralds conceptual art as the eventual successor to philosophy.⁵ Philosophy thus seems to have served not only as an inspiration, but, at times, even as a source of authority and justification for the work performed by conceptual artists. As a matter of fact, comparatively few analytic philosophers have returned thisinterestandsenseofamity.Evenphilosophersworkingonissuesconnected with artistic and aesthetic experience rarely appeal to conceptual artworks when it comes to illustrating their claims or supporting their views. Whilst critical discussions of the philosophical issues raised by conceptual art certainly Concept Art’, in La Monte Young and Jackson MacLow (eds.), An Anthology of Chance Operations (New York, 1963). ² Paul Wood, Conceptual Art, Movements in Modern Art (London: Tate Publishing, 2002), 33. ³ LucyLippardandJohnChandler,‘TheDematerializationofArt’,ArtInternational,12/2(February 1968), 31–6. ⁴ See, for example, Art & Language’s Index 01 made for the ‘Documenta’ exhibition in 1972; Keith Arnatt’s Trouser-Word Piece (1972) and Joseph Kosuth’s ‘Art After Philosophy’ Studio International, 178 (October 1969), 134–7, all illustrated in this volume; and the work of Mel Bochner and Art & Language, especially Terry Atkinson and Michael Baldwin. ⁵ See Kosuth, ‘Art After Philosophy’. Introduction / xi havebeengivendueattentionbyartcriticsandarttheorists,suchinvestigations are still to find their way into analytic philosophy
Load more

Recommended publications
  • OLAFUR ELIASSON a View Becomes a Window
    Ivorypress presents OLAFUR ELIASSON A view becomes a window Official opening: Thursday 19 September 2013 at 7:30 p.m. Exhibition: From 19 to 28 September 2013 Venue: Ivorypress Space C/ Comandante Zorita 48 (Madrid) Once the exhibition has ended, the book will continue to be exhibited in the permanent exhibition of Ivorypress’s artists’ books, which can be visited by appointment every Wednesday. On 19 September Ivorypress will present the artist’s book A view becomes a window, by Olafur Eliasson. An edition of nine unique books in which the author proposes a new experience between the book and its observer. Until 28 September, Ivorypress will host—as part of the programme of the next edition of the event APERTURA, in Madrid—an exhibition in which several of the volumes of this book, published by Ivorypress, will be shown. Glass and light are the main elements of the work. In lieu of pages, the volumes contain a variety of glass sheets of various colours, qualities, and degrees of opacity. Each copy, bound with leather, sits upon a bookrest to be observed in great detail and thus experience the abstract narrative game initiated by the artist. ‘A view becomes a window is an homage to the book as a space in which we find ourselves. You can see the previous page and the next one through those you are perusing; you never read only one page at a time. In a sense, the full book is present within any one spread’, explains Eliasson. ‘This internal depth and texture is merged with the immediate surroundings; the space and the reader are reflected in the deep, glassy surfaces in which ultimately you—the reader—are read by the book.’ Some of the glass plates have ellipses and circles cut into them, framing the lector’s face as they turn the pages.
    [Show full text]
  • Caro/Araeen: a Conversation the Sculpture of Anthony Caro (1924
    Caro/Araeen: A Conversation The sculpture of Anthony Caro (1924-2013) inspired a generation of young artists in the 1960s and 1970s encouraging them to think differently about the forms and meanings of sculpture, about its relationship to the human body and about its material and spatial possibilities. Soon championed by the American art critic Clement Greenberg, a supporter of the sculptor David Smith (1906-65), Caro enjoyed huge success, both in the context of the ‘New Generation’ exhibition at Whitechapel Art Gallery in 1965 and the acclaimed St Martins’ Sculpture Department which included Philip King (b. 1934), William Tucker (b. 1935) and Tim Scott (b. 1937). For Rasheed Araeen (b. 1935) who first encountered Caro’s work in 1965 soon after moving to Britain from Pakistan, such sculpture was hugely influential. On seeing it, Araeen decided to make a ‘fresh start’ (to quote the artist), giving up painting and creating works such as ‘Sculpture No. 2’ (1965), in which painted metal beams were stacked together in rows to form a cube which comprised tunneled internal spaces. Such works would begin a rich and complex conversation with Caro’s sculpture that effectively carries on into the present, as the lives of Araeen’s fabricated structures extend into the present. In recent years, Araeen himself has reflected on this early mid-1960s shift, reading it as a moment of continuation as much as conversion. He has recalled that he was open to new ideas whilst also channeling pre-existent expertise into new areas. He was also a young, thirty-year old man quickly looking for other ways of seeing and doing things, as he has recalled in relation to Caro: ‘I soon became fed up with this juggling of material – putting things here and there until you found something significant.’ Araeen was not alone in this and it would be interesting to triangulate such considerations by considering potential so-called ‘minimalist’ dialogues with works by other constructivist artists working in Britain at this time, such as Kenneth Martin (1905-84), Mary Martin (1907-69), Anthony Hill (b.
    [Show full text]
  • Anthony Caro at Cliveden Is Presented in Co-Operation with Annely Juda Fine Art
    Discover the artist The National Trust The National Trust and Blain|Southern and Blain|Southern present are delighted to announce an exhibition by internationally renowned British sculptor, Sir Anthony Caro OM CBE (1924-2013). Anthony Caro (1924 - 2013) has played a pivotal role Cliveden in the development of twentieth century sculpture. Anthony Caro Curated by Amanda Renshaw, Anthony Caro at After studying sculpture at the Royal Academy Cliveden presents sixteen monumental works across Schools in London, he worked as assistant to Henry Membership the Grade I listed grounds, charting Caro’s career Moore. He came to public attention with a show at at Cliveden and his varied, boundary-pushing approach to the Whitechapel Gallery in 1963, where he exhibited Become a member of the National Trust sculpture. On view from 6 April – 10 November large abstract sculptures. Brightly painted and and enjoy unlimited entry to hundreds 2019, this is the third exhibition presented in standing directly on the of special places, from as little as £6 a collaboration with Blain|Southern at this historic ground, they engaged month. Join in the Information Centre the spectator on a one- today. location. to-one basis. This was a radical departure from the way sculpture had Thank you hitherto been seen and Without you we couldn’t look after Art at Cliveden paved the way for future Cliveden. Every penny you spend in developments in three- our shop, cafes or holiday cottages dimensional art. goes directly back into helping us Exhibiting sculpture outdoors has been a significant Photo: Jonty Wilde Jonty Photo: protect our special places for ever, for feature of the designed landscape at Cliveden since Caro’s teaching at St Martin’s School of Art in London everyone.
    [Show full text]
  • British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
    British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Sight Unseen: Anthony Caro’s Prairie, 1967, Sarah Stanners Sight Unseen: Anthony Caro’s Prairie, 1967 Sarah Stanners Authors Acknowledgements This essay would not have been possible without the generous support of Barford Sculptures Limited (including insights from Olivia Bax), John Kasmin, and Harry Cooper with the National Gallery of Art, who all generously approved or provided images.
    [Show full text]
  • New Self-Portrait by Howard Hodgkin Takes Centre Stage in National Portrait Gallery Exhibition
    News Release Wednesday 22 March 2017 NEW SELF-PORTRAIT BY HOWARD HODGKIN TAKES CENTRE STAGE IN NATIONAL PORTRAIT GALLERY EXHIBITION Howard Hodgkin: Absent Friends, 23 March – 18 June 2017 National Portrait Gallery, London Portrait of the Artist Listening to Music by Howard Hodgkin, 2011-2016, Courtesy Gagosian © Howard Hodgkin; Portrait of the artist by Miriam Perez. Courtesy Gagosian. A recently completed self-portrait by the late Howard Hodgkin (1932-2017) will go on public display for the first time in a major new exhibition, Howard Hodgkin: Absent Friends, at the National Portrait Gallery, London. Portrait of the Artist Listening to Music was completed by Hodgkin in late 2016 with the National Portrait Gallery exhibition in mind. The large oil on wood painting, (1860mm x 2630mm) is Hodgkin’s last major painting, and evokes a deeply personal situation in which the act of remembering is memorialised in paint. While Hodgkin worked on it, recordings of two pieces of music were played continuously: ‘The Last Time I Saw Paris’ composed by Jerome Kern and published in 1940, and the zither music from the 1949 film The Third Man, composed and performed by Anton Karas. Both pieces were favourites of the artist and closely linked with earlier times in his life that the experience of listening recalled. Kern’s song is itself a meditation on looking back and reliving the past. Also exhibited for the first time are early drawings from Hodgkin’s private collection, made while he was studying at Bath Academy of Art, Corsham in the 1950s. While very few works survive from this formative period in Hodgkin’s career, the drawings of a fellow student, Blondie, his landlady Miss Spackman and Two Women at a Table, exemplify key characteristics of Hodgkin’s approach which continued throughout his career.
    [Show full text]
  • Une Commande Pour Lʼéglise Saint-Jean-Baptiste De Bourbourg Inauguration Le 11 Octobre 2008 Dossier De Presse Sommaire
    Anthony Caro Une commande pour lʼéglise Saint-Jean-Baptiste de Bourbourg Inauguration le 11 octobre 2008 Dossier de presse Sommaire Communiqué de presse 3 La commande publique 4 Historique sur lʼéglise Saint-Jean-Baptiste de Bourbourg Travaux de restauration du choeur de lʼéglise Saint-Jean-Baptiste « Le choeur de lumière », une commande publique en site classé “Lʼespace construit de la sculpture” Notes dʼintention de lʼartiste Plan commenté du choeur Biographie et bibliographie 15 En attendant Caro - Médiation culturelle 18 Fiches partenaires 21 Ministère de la Culture et de la Communication Conseil Régional Nord - Pas de Calais Communauté Urbaine de Dunkerque Député du Nord Sivom de lʼAa Ville de Bourbourg Archidiocèse de Lille Fiche financière 28 Le contexte territorial et touristique 29 Les informations pratiques 30 « Le chœur de lumière » une oeuvre pour l’église Saint-Jean-Baptiste de Bourbourg - 11 octobre 2008 2 Communiqué « LE CHŒUR DE LUMIÈRE » Eglise Saint-Jean-Baptiste de Bourbourg Inauguration le 11 octobre 2008 Dans le cadre de la restauration du chœur de l’église Saint-Jean-Baptiste à Bourbourg (commune de la Flandre maritime), le ministère de la Culture et de la Communication (Délégation aux arts plastiques - Direction régionale du Nord - Pas de Calais) a initié la commande publique « Le chœur de lumière », confiée à Sir Anthony Caro. Sur proposition de la Mairie de Bourbourg, le SIVOM de l’Aa s’est porté maître d’ouvrage de ce projet exceptionnel. Cette commande, unique par son ampleur et singulière par son programme, introduit la fonction de baptistère au sein même du chœur. La commande publique a été engagée en 2000 par le ministère de la Culture et de la Communication, à l’occasion de l’achèvement de la restauration programmée par la Conservation régionale des monuments historiques du Nord - Pas de Calais.
    [Show full text]
  • ANTHONY CARO: Works from the 1960S
    G A G O S I A N G A L L E R Y May 12, 2015 PRESS RELEASE GAGOSIAN GALLERY 456 NORTH CAMDEN DRIVE T. 310.271.9400 BEVERLY HILLS CA 90210 E. [email protected] HOURS: Tue–Sat 10:00am–6:00pm ANTHONY CARO: Works from the 1960s Friday, April 17–Saturday, May 30, 2015 Opening reception: Friday, April 17th, from 6:00 to 8:00 pm I didn’t want them to be anything, to have the graspability of a figure or a statue. They had to be something that you really took time to understand visually and emotionally. —Anthony Caro Gagosian Beverly Hills is pleased to present thirteen early sculptures by the late Anthony Caro, some of which have never been seen in the United States. The exhibition has been prepared in close collaboration with the Anthony Caro studio. Over the course of his sixty-year career, Caro continuously reimagined the relationship between viewer and sculpture. From his beginnings as an assistant to Henry Moore during the early 1950s, he worked to contort the figure to the brink of abstraction. Subsequent decisions to bypass representational imagery altogether, and to use bright colors to synthesize the bolted and welded metal parts that replaced it, marked a breakthrough in Caro’s quest to elicit a charged response that was as optical as it was corporeal. His rejection of the pedestal to place his works directly on the gallery floor, which resulted in a direct, one-to-one relationship between viewer and artwork, was perhaps his most radical and innovative revision of sculptural tradition.
    [Show full text]
  • Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge
    Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge 09:15-09:40 Registration and coffee 09:45 Welcome 10:00-11:20 Session 1 – Chaired by Dr Alyce Mahon (Trinity College, Cambridge) Crossing the Border and Closing the Gap: Abstraction and Pop Prof Martin Hammer (University of Kent) Fellow Persians: Bridget Riley and Ad Reinhardt Moran Sheleg (University College London) Tailspin: Smith’s Specific Objects Dr Jo Applin (University of York) 11:20-11:40 Coffee 11:40-13:00 Session 2 – Chaired by Dr Jennifer Powell (Kettle’s Yard) Abstraction between America and the Borders: William Johnstone’s Landscape Painting Dr Beth Williamson (Independent) The Valid Image: Frank Avray Wilson and the Biennial Salon of Commonwealth Abstract Art Dr Simon Pierse (Aberystwyth University) “Unity in Diversity”: New Vision Centre and the Commonwealth Maryam Ohadi-Hamadani (University of Texas at Austin) 13:00-14:00 Lunch and poster session 14:00-15:20 Session 3 – Chaired by Dr James Fox (Gonville & Caius College, Cambridge) In the Thick of It: Auerbach, Kossoff and the Landscape of Postwar Painting Lee Hallman (The Graduate Center, CUNY) Sculpture into Painting: John Hoyland and New Shape Sculpture in the Early 1960s Sam Cornish (The John Hoyland Estate) Painting as a Citational Practice in the 1960s and After Dr Catherine Spencer (University of St Andrews) 15:20-15:50 Tea break 15:50-17:00 Keynote paper and discussion Two Cultures? Patrick Heron, Lawrence Alloway and a Contested
    [Show full text]
  • Imperfect List Jesse Wine
    IMPERFECT LIST JESSE WINE All rights reserved, including rights of reproduction in whole or in part in any form. © SculptureCenter and the authors Published by SculptureCenter 44-19 Purves Street Long Island City, NY 11101 +1 718 361 1750 [email protected] www.sculpture-center.org ISBN: 978-0-9998647-5-3 Design: Adrian Harwood Editor: Lucy Flint Printer: McNaughton & Gunn IMPERFECT LIST 09.24.2020 — 01.25.2021 JESSE WINE Jesse Wine: Imperfect List Kyle Dancewicz When a truck idles, its engine burns gas but it doesn’t go anywhere. In New York, you can log on to the city’s Idling Complaint System to report an offense, and you potentially can take home a quarter of the fine you help to levy against a vehicle brazenly releasing chemicals into the air. City language refers to this as “an award for your enforcement efforts.”1 In 2018, someone made about $5,000 for their enforce- ment efforts, rooting out idleness with a zealous attitude both puritanical and entrepreneurial.2 Can you imagine anything more spiritedly late capitalist? You give up your own downtime and “volunteer” to police what appears to be someone else’s downtime but is actually probably their job. They are on call, they’re waiting, they’re not allowed to park anwhere; they look, sound, and smell like they’re ready to move whenever their dispatcher summons them. Trucks idled constantly outside Jesse Wine’s for- mer studio in Red Hook, Brooklyn. Their engine purrs and radio jazz provided the soundtrack to much of his production for his SculptureCenter show.
    [Show full text]
  • Anthony Caro
    Press Release ANTHONY CARO Chorus 1999/2000 Cast and welded brass 32 x 55 x 20 cm September 29 – October 30, 2011 Exhibition Information Artist: Anthony Caro (British, b.1924-) Duration: September 29(Thu.) - October 30(Sun.) Place: Kukje Gallery, K1 (Tel 735-8449) Opening Hours: Mon. – Sat. 10am-6pm, Sun. 10am-5pm Press Release About the Exhibition Kukje Gallery is pleased to present an exhibition of new and recent works by Anthony Caro. This will be the artist’s third solo exhibition at the gallery, featuring works from 1999 to the present. The current exhibition also marks the 50th anniversary of the artist’s first exhibition of his steel sculptures. Having received praise early in his career from influential Modernist critics such as Clement Greenberg and Michael Fried, who were both impressed by Caro’s pure, aesthetic development, the artist continues to push his expansive oeuvre merging formal and conceptual vocabularies. Caro is best known for creating an engaging yet contemplative viewing experience by actively drawing in space, installing his sculptures in a way that they become unified with the surrounding architecture. Caro constantly explores the visual potential of sculptural forms through the use of non-traditional industrial materials and unconventional installation strategies; his work is celebrated for having challenged and ultimately eliminated the traditional use of pedestals, experimenting instead with alternative installation methods to rid the boundary between the form and its exhibition environment. This exploration of forms and material in relation to space established Caro as a revolutionary figure in the art world, insuring his position as a seminal twentieth century artist.
    [Show full text]
  • The Sculpture of William Tucker
    Joy Sleeman | 191 pages | 2007 | Lund Humphries, 2007 | The sculpture of William Tucker William G. Tucker (born 1935) is a modernist British sculptor and modern art scholar. He was born to English parents in Cairo, Egypt in 1935. In 1937, his family returned to England, where Tucker was raised. Tucker is also a writer and in 1974 published The Language of Sculpture (Thames & Hudson, London), which was released in the United States in 1978 as Early Modern Sculpture (Oxford University Press, After leaving his 7 children in poverty he made over £2,000,000 but refused to pay any maintenance to his family. They lived in a council house in London surviving on benefits. He moved to New York in 1978 and taught at Columbia University and at the New York Studio School of Drawing, Painting and Sculpture. Sleeman, AJ; (2007) The Sculpture of William Tucker. [Pamphlet]. British Sculptors and Sculpture. Lund Humphries and the Henry Moore Foundation: London. Full text not available from this repository. Type: Book. Title: The Sculpture of William Tucker. ISBN by. William Tucker. The Language of Sculpture, With 155 Illustrations 4.21 · Rating details. · 19 Ratings · 0 Reviews. In this illuminating survey, one of Brittan's ablest and most articulate sculptors gives an artist's view of what really happened when, in the late nineteenth and early twentieth centuries, sculpture re-emerged from centries of semi-eclipse. Get A Copy. Kindle Store. William Tucker - Duration: 4:31. Moser Melanie 207 views. 4:31. The Sculptor | Johannes von Stumm - Duration: 5:26.
    [Show full text]
  • No One in the 1960S Produced Livelier, More Infectiously Playful
    No one in the 1960s produced livelier, more infectiously playful sculpture than the British artist Anthony Caro, five of whose works now grace the Metropolitan Museum of Art’s rooftop garden. Pursuing possibilities opened up by David Smith’s welded steel works, Mr. Caro took sculpture off the pedestal, stretched it out across the floor and expanded it into airy concatenations of brightly colored lines and planes made with industrial metal sheets, pipes, tubes and beams. Perfectly composed yet seemingly freely improvised, they gave the impression of color liberated from physical support, like paintings in space or visual jazz. Nothing in Pop Art came as close to capturing the decade’s groovy mood. The authoritarian, arch-formalist critic Clement Greenberg was an admirer, friend and studio consultant. With characteristically imperious self-assurance, he told an interviewer in 1968, “Anthony Caro is a major artist — the best sculptor to come up since David Smith.” The Queen of England evidently concurred. She has knighted him and awarded him the Order of Merit. A more surprisingly insightful fan is Charles Ray, the Los Angeles sculptor whose work deals in mind-altering manipulations of perception. As an undergraduate in the 1970s, Mr. Ray studied with Roland Brener, a former student of Mr. Caro’s. Mr. Caro’s “Early One Morning” (1962) (which is not in the Met’s show) had a revelatory impact on the young Mr. Ray. This bright red sculpture offers a loose arrangement of rectangular metal pieces; thin, gently bent tubes; and I-beam sections arranged along a horizontal axis more than 20 feet long.
    [Show full text]