Art & Language Revisité
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Constellation & Correspondences
LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
Art and Language 14Th November – 18Th January 2003 52 - 54 Bell Street
Art and Language 14th November – 18th January 2003 52 - 54 Bell Street Lisson Gallery is delighted to announce an exhibition by Art & Language. Art and Language played a key role in the birth of Conceptual Art both theoretically and in terms of the work produced. The name Art & Language was first used by Michael Baldwin, David Bainbridge, Harold Hurrell and Terry Atkinson in 1968 to describe their collaborative work which had been taking place since 1966-67 and as the title of the journal dedicated to the theoretical and critical issues of conceptual art. The collaboration widened between 1969 and 1970 to include Ian Burn, Mel Ramsden, Joseph Kosuth and Charles Harrison. The collaborative nature of the venture was conceived by the artists as offering a critical inquiry into the social, philosophical and psychological position of the artist which they regarded as mystification. By the mid-1970s a large body of critical and theoretical as well as artistic works had developed in the form of publications, indexes, records, texts, performances and paintings. Since 1977, Art and Language has been identified with the collaborative work of Michael Baldwin and Mel Ramsden and with the theoretical and critical collaboration of these two with Charles Harrison. The process of indexing lies at the heart of the endeavours of Art and Language. One such project that will be included in the exhibition is Wrongs Healed in Official Hope, a remaking of an earlier index, Index 01, produced by Art & Language for the Documenta of 1972. Whereas Index 01 was intended as a functioning tool in the recovery and public understanding of Art and Language, Wrongs Healed in Official Hope is a ‘logical implosion’ of these early indexes as conversations questioning the process of indexing became the material of the indexing project itself. -
Conceptual Art in Britain 1964–1979 Art & Language Large Print Guide
Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Art & Language Large Print Guide Please return to exhibition entrance Art & Language 1 To focus on reading rather than looking marked a huge shift for art. Language was to be used as art to question art. It would provide a scientific and critical device to address what was wrong with modernist abstract painting, and this approach became the basis for the activity of the Art & Language group, active from about 1967. They investigated how and under what conditions the naming of art takes place, and suggested that meaning in art might lie not with the material object itself, but with the theoretical argument underpinning it. By 1969 the group that constituted Art & Language started to grow. They published a magazine Art-Language and their practice became increasingly rooted in group discussions like those that took place on their art theory course at Coventry College of Art. Theorising here was not subsidiary to art or an art object but the primary activity for these artists. 2 Wall labels Clockwise from right of wall text Art & Language (Mel Ramsden born 1944) Secret Painting 1967–8 Two parts, acrylic paint on canvas and framed Photostat text Mel Ramsden first made contact with Art & Language in 1969. He and Ian Burn were then published in the second and third issues of Art-Language. The practice he had evolved, primarily with Ian Burn, in London and then after 1967 in New York was similar to the critical position regarding modernism that Terry Atkinson and Michael Baldwin were exploring. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
145 the Linguistic Turn in Conceptualism and After
Art Inquiry. Recherches sur les arts 2015, vol. XVII ISSN 1641-9278145 Kazimierz Piotrowski Władysław Strzeminski Academy of Fine Arts in Łódź [email protected] THE LINGUISTIC TURN IN CONCEPTUALISM AND AFTER Abstract: One of the most spectacular turns in the art of the 20th century was based on the linguistic reorientation of philosophy, whose extreme manifestation was Wittgenstein's non- denotational conception of meaning. It inspired the so-called analytical conceptualism that was trying in vain to overcome the heterogeneous nature of conceptism, from which it derived. This is reflected especially in Joseph Kosuth's confusion concerning the neo-positivist inspiration and one of the guiding themes of natural language philosophy which emphasizes the significance of metaphor and the fundamental role of the functor as in human thinking. The following article presents this process of inconsistent reduction of art to language, showing some of its consequences and its replacement by contextualism. Keywords: conceptism, conceptualism, contextualism, extension, intension, linguistic turn Attempts to compare or reduce art to language were set off by the high position of literature, especially by the special status of poetry, which, since antiquity, played a leading role in the paragone (competition) between the arts of word and image. At least since Mannerism, poetic conceptism also had an impact on the visual arts and integrated the divided fields of art in general. This tendency – to perceive an artwork as a sign continued in the Enlightenment’s allegoriza- tion and the Romantic symbolization, although it was halted by the formalist tradition of Gotthold Ephraim Lessing's Laocoon (1766), further reinforced by the post-Kantian formalism of Konrad Fiedler in the late 19th century. -
Mel Ramsden's Theoretical Critique of Institutions: a Close Reading of “On Practice”
Received: February 28, 2015 Accepted: March 29, 2015 Scientific analysis or debate UDC: 7.072.3 Рамсден М. 7.072.3:141.82 Marko Đorđević Independent art theorist [email protected] Mel Ramsden’s Theoretical Critique of Institutions: A Close Reading of “On Practice” Abstract: The work offers a detailed reading of Mel Ramsden’s “On Practice”. The introductory paragraphs bring insight into contemporary discussions concerning definitions of the term “institutional critique” and exhibit different approaches to the historization of these practices. The main thesis is that Marxism was present in the critical practices of the New York-based conceptual artists associated with institutional critique, while the expanded thesis is that their Marxism was a form of interpretation/intervention in the institution of art. The central part comprises a reading of Ramsden’s text. The reading divides the text into three segments: a critique of bureaucracy in art, a critique of the art market, and a call for alternatives. Special attention is paid to the third segment. The communal art alternatives that Ramsden proposes are juxtaposed with the concrete practices of the “social turn” in contemporary art. The final remarks offer conclusions regarding the main and expanded theses and raise the question of the type of intervention that Ramsden’s text performs in the contemporary institution of art. Key words: institutional critique, artist theory, Marxism, critical theory Introduction: Contextualizing Institutional Critique in the West Discussing the Term “Institutional Critique” The term institutional critique signifies an art movement that originated in the late 1960s and early 1970s. A common denominator of these heterogeneous artistic practices is their conflictual approach to the relationship between the institution of art and the artist as its actor. -
In Modern Painting Charles Harrison
»Form« and »finish« in modern painting Charles Harrison his paper is concerned with a group of paintings made earlier this year by T Michael Baldwin and Mel Ramsden, the artists whose work is issued under the name of Art & Language. Each is approximately 180 cm high by 120 cm wide. The paintings belong to a sub-series within the longer series which Art & Language have called Hostages. Since December 1989, all the paintings given this title have been based on a simple and consistent landscape motif.1 An uneven row of poplar trees is seen within a relatively featureless field, receding diagonally or running parallel to the picture plane according to the variations of a simple perspectival scheme. The horizon line is marked with indefinite, painterly traces which casually signify a hedge. The paintings are individuated by effects of light and weather, though the pictorial atmosphere thus established appears rather as a conventional aspect quoted than as a natural property directly expressed. These are the token materials of landscape as an alienated genre - a genre abandoned by the critical interests of Modernism and rendered bathetic by the conditions of modernity. To those familiar with his paintings of the 1890s, the motif of the poplar tree inescapably evokes the work of Monet, and thus refers, albeit laconically, to the last moment in western art when the identification of intentional human content could be made consonant with a comfortable concept of nature. In the works with which I’m primarily concerned, each painting is divided vertically. The landscape motif occupies only a certain proportion of each canvas. -
Joseph Kosuth Selected Catalogs & Books Bibliography 2013 Biggiero, Fiona (Ed): ‘Joseph Kosuth: Re-Defining the Context of Art: 1968 - 2011
Joseph Kosuth Selected Catalogs & Books Bibliography 2013 Biggiero, Fiona (ed): ‘Joseph Kosuth: Re-defining the Context of Art: 1968 - 2011. The Second Investigation and Public Media’, Black Dog Publishing, London, GB 2012 Castelli, Barbera Bertozzi: ‘Joseph Kosuth: Freud, Wittgenstein and Musil’, Leo Castelli, New York, US Kosuth, Joseph, ‘An Interpretation of this Title / Waiting for - (Text for Nothing)’, Macmillan Art Publishing, Melbourne, AU 2011 Trev, Nuadha (ed.): ‘Joseph Kosuth’, Betascript Publishing, Beau Bassin, MU Kosuth, Joseph, ‘Located World, (La Marrana)’ La Marrana Arteambientale, Ameglia (La Spezia), IT 2010 ‘ni apparence ni illusion’/’Neither Appearance Nor Illusion’, MER. Paper Kunsthalle, Musee du Louvre Kosuth, Joseph: ‘Texts for Nothing – Samuel Beckett, in play’, Galleria Lia Rumma, Milan, IT 2009 Von Furstenberg, Adelina et al: ‘The Language of Equilibrium’, Mondadori Electa, Milan, IT Kosuth, Joseph: ‘L’Arte Dopo La Filosofia’, Costa & Nolan, Milan, IT 2008 Kosuth, Joseph: ‘Terra Ultra Incognita’, Centro Atlantico De Arte Moderne, La Palmas De Gran Canaria, ES Kosuth, Joseph: ‘At Last I Thought I Understood, Madrid: Architectural Projects and Public Works’, La Casa Encendida, Madrid, ES 2007 Morrison, Toni. ‘Artworks The Progressive Collection’. Foreword. Ed. Toby Devan Lewis. ‘Wiehager, Renate, Minimalism and After’, éd.Hatje Cantz Verlag, Daimler Chrysler AG, p.320-321, ill. 2006 Kosuth, Joseph (et al.): ‘Generations of Art: 10 Years at FAR’, Charta, Como, IT Pilkington, Mel Ramsden, David Rushton and Terry Smith: ‘Joseph Kosuth: Castello di Rivoli d’Arte Contemporanea, Niels Jørgen Cappelørn, Hermann Deuser and K. Brian Söderquist, (eds.): ‘Kosuth, Joseph. 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris ‘Recognizable Differences’: Andersen and Kierkegaard’ in Kierkegaard Studies: Yearbook [email protected] 2006. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Conceptual Art in Britain 1964–1979 Timeline Large Print Guide
Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Timeline Large Print Guide Please return to exhibition entrance Contents 1964 Page 1 1965 Page 3 1966 Page 6 1967 Page 9 1968 Page 12 1969 Page 16 1970 Page 23 1971 Page 30 1972 Page 36 1973 Page 41 1974 Page 46 1975 Page 50 1976 Page 54 1977 Page 57 1978 Page 60 1979 Page 63 1964 1 AUG The Centre for Advanced Creative Study publishes Signals Newsbulletin, a forum for the discussion of experimental art exhibitions and events. It also includes poetry and essays on science and technology. The group becomes known as Signals London when it moves to premises in Wigmore Street in central London. The gallery closes in 1966. OCT The Labour party wins the general election under the leadership of Harold Wilson. Wilson speaks about the need ‘to think and speak in the language of our scientific age’. 2 1965 3 FEB Arts minister Jennie Lee publishes the first (and only) white paper on the arts – A Policy for the Arts. She argues that the arts must occupy a central place in British life and be part of everyday life for children and adults. She announces a 30% increase to the Arts Council grant. JUL Comprehensive education system replaces grammar and secondary modern schools, aiming to serve all pupils on an equal basis. Between Poetry and Painting Institute of Contemporary Arts, London 22 October – 27 November Curated by Jasia Reichardt Includes: Barry Flanagan, John Latham 4 NOV Indica gallery and bookshop opens at Mason’s Yard, London. -
O Exercício Experimental Da Liberdade Sobrevivência, Protocolo E Suspensão Da Descrença: Medium E Transcendentais Da Arte Contemporânea
Delfim Sardo O Exercício Experimental da Liberdade Sobrevivência, Protocolo e Suspensão da Descrença: Medium e Transcendentais da Arte Contemporânea Dissertação de Doutoramento em Arte Contemporânea, apresentada ao Colégio das Artes da Universidade de Coimbra 2012 1 2 DELFIM SARDO O EXERCÍCIO EXPERIMENTAL DA LIBERDADE Sobrevivência, protocolo e suspensão da descrença: médium e transcendentais da arte contemporânea 3 4 SUMÁRIO A presente dissertação parte da noção de arte em geral propagada pelas vanguardas durante o século XX para refletir sobre a relação entre esta abertura de campo e a inevitável especificidade do encontro com a obra de arte. Para poder compreender esta questão, tornou-se necessária uma abordagem a um segundo núcleo de questões, intimamente conectados com o primeiro: trata- se da complexidade dos processos gerados pelas vanguardas no século XX para definirem mecanismos de viabilidade para a criação artística, já não assentes sobre cânones e competências específicos, mas sobre outros processos protocolares que associámos ao mecanismo da suspension of diebelief coleridgeano. Assim, o texto detêm-se em quatro grandes linhagens da criação artística (a pintura, a escultura, os processos de mediação óptica e o uso da corporalidade) para detectar, em cada um deles a forma como lidam, criticam e renegoceiam os seus transcendentais. Nesta interrogação à sobrevivência dos géneros artísticos (termo que usamos em detrimento de “médium”) desenham-se duas teses: que os géneros artísticos funcionam como dispositivos em sentido foucaultiano e que a criação artística trata sempre de problemas de representação. Finalmente, o propósito final desta dissertação é propor a ideia de que a negociação sobre as condições de possibilidade da prática artística só é possível a partir da repetição de processos de sobrevivência conflitual de mecanismos específicos da positividade dos processos e objetos.