Conceptualism Before, During, and After Conceptual
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1 Armand Maurer. the Philosophy of William of Ockham in the Light of Its
Armand Maurer. The Philosophy of William of Ockham in the Light of Its Principles. Pontifical Institute of Mediaeval Studies, 1999. Someone must be looking out for William Ockham. Excommunicated and exiled in his own lifetime, Ockham's philosophical works were revitalized in the twentieth century like those of no other medieval author. The two best medieval monographs of the century, from a philosophical point of view, were studies of Ockham.i And while the still unfinished Opera Omnia of Aquinas and Scotus plodded along, a brilliant group of scholars assembled in Olean, New York, to publish Ockham's Opera Philosophica et Theologica over a mere twenty-three years.ii And in a century that saw sophisticated bodies of philosophical scholarship grow up around the ancient and early modern periods, only Ockham among the medievals can lay claim to anything remotely analogous.iii Now Armand Maurer, at a mere 84 years of age, has managed to slip one more contribution into a century that, for Ockham Studies, was already venerable enough. It should be said from the start that Maurer's volume cannot compare, in philosophical detail and sophistication, with Marilyn Adams's even longer book on the subject. But this is nevertheless an important and valuable work. Maurer seeks to provide an introduction to Ockham's philosophy (10) and he succeeds entirely, in a manner worthy of comparison to Copleston and perhaps even Gilson. 1 It is surprisingly difficult to determine just what Maurer means by `the philosophy of Ockham.' He does not have in mind the medieval sense of `philosophy.' Though the volume begins with logic and metaphysics, and devotes a long chapter to physics, it is Ockham's Opera Theologica that receive most of Maurer's attention. -
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. -
EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art -
History and Theory of Philosophy
FEDERAL STATE BUDGETARY EDUCATIONAL INSTITUTION OF HIGHER EDUCATION "BASHKIR STATE MEDICAL UNIVERSITY" OF THE MINISTRY OF HEALTHCARE OF THE RUSSIAN FEDERATION (FSBEI HE BSMU MOH Russia) HISTORY AND THEORY OF PHILOSOPHY Textbook Ufa 2020 1 UDC 1(09)(075.8) BBC 87.3я7 H90 Reviewers: Doctor of Philosophy, Professor, Head of the department «Social work» FSBEI HE «Bashkir State University» U.S. Vildanov Doctor of Philosophy, Professor at the Department of Philosophy and History FSBEIHE «Bashkir State Agricultural University» A.I. Stoletov History and theory of philosophy:textbook/ K.V. Khramova, H90 R.I. Devyatkina, Z.R. Sadikova, O.M. Ivanova, O.G. Afanasyeva, A.S. Zubairova-Valeeva, N.R. Mingazova, G.R. Davletshina — Ufa: Ufa: FSBEIHEBSMUMOHRussia, 2020. – 127 p. The manual was prepared in accordance with the requirements of the Federal State Educational Standard of Higher Education in specialty 31.05.01 «General Medicine» the current curriculum and on the basis of the work program on the discipline of philosophy. The manual is focused on the competence-based learning model. It has an original, uniform for all classes structure, including the topic, a summary of the training questions, the subject of essays, training materials, test items with response standards, recommended literature. This manual covers topics related to the periods of development of world philosophy. Designed for students in the specialty 31.05.01 «General Medicine». It is recommended to be published by the Coordinating Scientific and Methodological Council and was approved by the decision of the Editorial and Publishing Council of the BSMU of the Ministry of Healthcare of Russia. -
The Post-Duchamp Deal. Remarks on a Few Specifications of the Word ‘Art’
Filozofski vestnik volume/letnik XXviii • number/Številka 2 • 2007 • 27–38 The Post-Duchamp DeAl. Remarks on A FeW sPeCiFications oF tHe Word ‘art’ thierry de Duve When people began to talk in the ’60s of interdisciplinary trends in art, using terms such as ‘mixed media’, ‘intermedia’ and ‘multimedia art’, the primary focus was on finding a place for the new and quite diverse practices that could not be assigned to the traditional categories of painting and sculp- ture. those new names, as well as the descriptive terms ‘performance art’ or ‘installation art’, which were also new at that time, had a merely journalistic character. However, a more serious theoretical debate was simultaneously taking shape around Pop, Minimal and Conceptual Art, a debate in which the growing influence of Marcel Duchamp on this generation of artists and the impact of the readymade on artistic theories were palpable. By the end of the decade, the debate had reached academia. Philosophers who rarely set foot inside a gallery began to question the very concept of art, exemplified by borderline cases that were either real, such as Duchamp’s readymades and other ‘found objects’, or imaginary, such as the five red monochromes, identical but bearing different titles, which Arthur Danto (who does visit galleries more often than not) wittily proposed at the beginning of his book, The Transfiguration of the Commonplace.1 During the ’80s, my own work on the readymade has led me to study the relationship of painting, in particular, to art, in general, and then to develop an aesthetic theory of art as proper name, the result of a somewhat unexpected meeting of Duchamp with immanuel kant.2 What motivated me at the time was the mixture of excitement and anxiety produced by a situation that was an obvious legacy of the ready- made, namely, the radical openness of art (in the singular) resulting from 1 Arthur Danto, The Transfiguration of the Commonplace (Cambridge, Mass.: Harvard University Press, 1981). -
Scotus: an Initial Lonerganian Treatment
Scotus: An Initial Lonerganian Treatment Matthew Peters The present paper was inspired by a collection of distinct though related interests. Perhaps first among these was the desire to respond to a call Lonergan makes in a rather long footnote in the first chapter of Verbum. Lonergan states: “While M. Gilson has done splendid work on Scotist origins, there is needed an explanation of Scotist influence” (Lonergan 1997, 39). Lonergan’s reference to Gilson has to do with the latter’s pioneering work identifying and analyzing the sources upon which Scotus was drawing in developing his, Scotus’s, own mature philosophy. Yet, clearly Lonergan saw that a further effort was needed: providing an account of how Scotus influenced the tradition that succeeded him. Now, two facts are worth noting regarding Scotist scholarship subsequent to Lonergan’s call. First, relatively little work has been done by students and scholars of Lonergan to provide a critical and dialectical history of Scotist influence. Secondly, interest in and discussion of Scotist influence has nevertheless increased enormously amongst other philosophical communities. Perhaps beginning with Heidegger’s habilitation-schrift of 1916, a litany of prominent philosophers and theologians – including Jacques Derrida, Gilles Deleuze, John Milbank and the whole Radical Orthodoxy movement – have returned to Scotus in one fashion or another. What seems to have emerged from this discussion of Scotus is the view that Scotus, for good or for ill, represents a seminal figure in the history of Western thought, in particular as setting the stage for the so-called Modern as well as Post-Modern Project in philosophy. -
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. -
Conceptualism and the Notion of a Concept
Conceptualism and the Notion of a Concept Hannah Ginsborg, U.C. Berkeley Version of August 26, 2019, submitted There is a long-standing conflict in philosophy between two pictures of perceptual experience. On one picture, traditionally associated with Kant,1 perceptual experience, at least in adult humans, involves the operation of conceptual as well as sensory capacities. The experience you have when you see a yellow daffodil essentially involves your being aware of it as yellow, and as a daffodil. A subject lacking the concepts of yellow and daffodil would see the same object you do, in that it would affect their sense-organs as it does yours, but would have a different perceptual experience. On the other picture, more closely aligned with empiricism, perceptual experience is the product of our sensory capacities only. Although, when you see a yellow daffodil, you may at the same time take it to be yellow and to be a daffodil, and so bring it under the concepts yellow and daffodil, your doing so is not part of your perceptual experience. You could have exactly the same experience if you lacked those concepts. On the first picture, which I will label “conceptualist,”2 the perceptual experience of nonhuman animals and human infants -- at least to the extent that animals and infants are presumed to lack conceptual capacities - - is of a fundamentally different kind from that of adult humans. The discontinuity between humans and animals as regards epistemic access to the world is not a matter of humans being able to make judgments and entertain thoughts about the world in addition to having perceptual experiences of it, but operates at the level of perception itself. -
Aesthetic Experience of Postmodern Arts Between Creativity and Appreciation
3-5 February 2014- Istanbul, Turkey 752 Proceedings of INTCESS14- International Conference on Education and Social Sciences Aesthetic Experience of Postmodern Arts Between Creativity and Appreciation Gihan Abou Elkheir Alexandria University, Egypt [email protected] Keywords: Aesthetic Experience, Postmodernity Arts, Art Appreciation Abstract. Modernity is not a departure from historical context. It goes back to the 14Th century. In fact, it was a search of identity. Color assumed sovereignty, meanwhile, Perspective became of minor importance, and pure image was the main issue. Modernity included a wide range of modern art movements, Styles such as were: performance, and conceptual Arts, were prominent. Main aspects of post Modernity were: Functionality, Abstract, and simplification. A tendency towards Consumables and every day's events were its main concerns. There was a close connection between artist and recipient, together with an ironical view towards the world, with a stress upon advertisements in media and everyday events. New thoughts came to existence, and there were radical changes of Criteria. Hence, the research introduces a concept for art appreciation through the new Aesthetic Criteria. The Researcher's assumptions revealed, in analytical approach, the impact of post modernity upon Egyptian Art movement. In her conclusion, the researcher found that the post modern artworks are integrated with the various environments. The recipient roles were always of prime importance. The Western Post modernity culture enhanced the free will, refusing centralized culture, and encompassed all sorts of contradictions, and that beseted unification and fragmentation. The study offered three examples, (three postmodern contemporary Egyptian artists), which confirm that: Artworks are integrated with their egyptian natural environment. -
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. -
The Art of Performance a Critical Anthology
THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company.