Language Between Performance and Photography
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D'art Ambition D'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony
Ambition d’art AmbitionAlighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner d’art16 May – 21 September 2008 The Institut d’art contemporain aspect (an anniversary) and the is celebrating its 30th anniversary setting – the inauguration of an in 2008 and on this occasion exhibition in the artistico-political has invited its founder, context of the 2000s – it is aimed Jean Louis Maubant, to design at shedding light on what the an exhibition, accompanied by an ‘ambition’ of art and its ‘world’ important publication. might be. The exhibition Ambition d’art, held in partnership with the The retrospective dimension Rhône-Alpes Regional Council of the event is presented above and the town of Villeurbanne, is a all in the two volumes (Alphabet strong and exceptional event for and Archive) of the publication to the Institute: beyond the anecdotal which it has given rise. Institut d’art contemporain, Villeurbanne www.i-art-c.org Any feedback in the exhibition is Yona Friedman, Jordi Colomer) or less to commemorate past history because they have hardly ever been than to give present and future shown (Martha Rosler, Alighiero history more density. In fact, many Boetti, Jeff Wall). Other works have of the works shown here have already been shown at the Institut never been seen before. and now gain fresh visibility as a result of their positioning in space and their artistic company (Luciano Fabro, Daniel Buren, Martha Rosler, Ambition d’art Tony Cragg, On Kawara). For the exhibition Ambition d’art, At the two ends of the generation Jean Louis Maubant has chosen chain, invitations have been eleven artists for the eleven rooms extended to both Jordi Colomer of the Institut d’art contemporain. -
Joseph Kosuth in Conversation,” 3Rd Dimension Magazine, February 20, 2017
“Joseph Kosuth in Conversation,” 3rd Dimension Magazine, February 20, 2017 Monument/Man: Art-historian Ramsay Kolber discusses memory and the making of meaning with the artist. In 1964 Joseph Kosuth, a proclaimed patriarch of Conceptual Art, was a teenage student at the Cleveland Institute of Art in Ohio. The artist lived with three other male students in what had once been a ‘luxe’ building turned by time from splendid residential accommodation into college lodgings. In front of this building stood a large monument, which had remained unnoticed by the young artist for a term and a half. Many of us who live in the urban landscape, recognise this as familiar behaviour, because all too often monuments, which were intended to be highly visible, gradually merge into their surroundings as result of their permanence — consumed by the very space they were intended to lift out of the everyday. 1. András Tóth, Memorial to Lajos Kossuth, bronze, erected 1902 at University Circle, Cleveland, Ohio. This a replica by Tóth of his Kossuth Memorial at Nagyszalonta, Hungary and was commissioned to commemorate the Hungarian patriot’s visit to Cleveland, USA, 1851-52 (photo: courtesy of Ann Albano The Sculpture Center) One day when the young artist met up with his friend Charles in front of his lodgings they noticed spray-painted gold laurels strewn around the monument. Looking up the two boys read the inscription on the plinth, which identified the statue as Lajos (Louis) Kossuth, the national hero of Hungary, and Joseph Kosuth’s great-great uncle (fig.1). The immediate irony of this encounter would only augment when Kosuth recounted this story to me in his London studio, some 50 years after the fact. -
November 23Rd, 2010 Gene Beery
Gene Beery at Algus Greenspon Within Gene Beery’s conceptual language-based paintings, there always seems to be some kind of joke—and not always one that the viewer is in on. Among the pieces included in the artist’s 50-year retrospective was Note (1970), in which the words “NOTE: MAKE A PAINTING OF A NOTE AS A PAINTING” are rendered in puffy, candy-colored letters on a pale background with a black framelike border. In another, the words “life without a sound sense of tra can seem like an incomprehensible nup” (1994) are written in black capital letters on white; the canvas is divided by a thick black line, which cuts through the lines of text so that the reversed words “art” and “pun” are separated from the rest. Gene Beery, Note, 1970, acrylic on canvas, 34 x 42 inches. The exhibition began with works from the late 1950s, when Beery, then employed as a guard at the Museum of Modern Art, was “discovered” by James Rosenquist and Sol LeWitt. An “artist’s artist,” he was championed by artists who were, and would remain, better known than he. After a 1963 show at Alexander Iolas Gallery in New York, Beery moved to the Sierra Nevada mountains, where he still lives. While other artists using text and numbers who emerged in the 1960s—Lawrence Weiner, Joseph Kosuth, On Kawara, for example—produced mostly cerebral works lacking evidence of the artist’s hand, Beery seemingly poked fun at the high Conceptualism of the day. He continued to make his uniquely homespun and humorously irreverent canvases, the rawness of their execution a throwback to the Abstract Expressionists. -
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. -
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KAWARA: EXHIBITION OVERVIEW Jeffrey Weiss: On Kawara was a key figure in the art of the 1960s in particular. He began working in Japan and continued work in many other cities, finally settling in New York in the mid-’60s, where he was part of the community of Conceptual art during that period of time. He knew a lot of artists that we associate with Conceptualism including Sol LeWitt and Hanne Darboven, Joseph Kosuth and Dan Graham. It’s easy to associate his work, then, with the rise of Conceptualism, although Kawara’s work, when you examine it closely, stands well apart. This exhibition was organized in cooperation with the artist. And I really wanted to show every category of Kawara’s production since around 1964. We don’t call it a retrospective because Kawara’s work is based on time, on the passage of time. So the idea of the retrospective actually doesn’t apply in the conventional sense. Anne Wheeler: We heard from a number of his friends and colleagues from even years ago that it had always been his dream to have a show at the Guggenheim because of the cyclical nature of time and the way that the building represents that in the way that you can move throughout the chronology of his work. In organizing the show we are moving more or less chronologically through the series of his works, starting in the High Gallery with works from 1963 to ’65. Jeffrey Weiss: We’re also showing Paris–New York Drawings, which he produced in Paris and New York, where he was living—both places. -
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. -
Sol Lewitt's Wall Drawings
Amanda Cheung CS24: Field Research Writing Assignment Figure 1 Sol LeWitt, Wall Drawing #146, September 1972 I would like to delve into a visual and conceptual analysis of conceptual artist Sol LeWitt’s Wall Drawings, drawing from the ideas of semiotics, traditional fine art, and computer rendered graphics. Sol LeWitt emerged as one of the early pioneers of a small but fascinating movement in art called Conceptual Art. Leading artists who participated in this movement, such as Joseph Kosuth, On Kawara, and Lawrence Weiner, maintained that the essence of a work of art was in the conception of a work or idea by the artist, and not in the physical products created by or representing the idea. For example, in Joseph Kosuth’s “One and Three Chairs,” the artwork is the idea of the chair, represented the word “chair,” a photograph of a chair, and the dictionary definition of chair. The work explores of the idea of the signifier, signified, and referent as studied in semiotics, and questions the role of the artist in creating a work; can he simply conceive an idea and let it be art, aside from any physical product? In Sol LeWitt’s Wall Drawings, such as the one pictured in Figure 1, the essence of the work lay in the conception of the specific lines/shapes to be drawn on a wall, and not in the final product. LeWitt’s process involved conceiving the idea for the specific wall drawing and giving instructions to workers who executed the drawings in the exhibition spaces. Thus, a single “Wall Drawing” work would appear differently in different exhibitions because it would be executed by different people and in different spaces. -
Documenta 11
1/21/2015 Frieze Magazine | Archive | Documenta 11 Documenta 11 About this article Documenta 11 Published on 09/09/02 By Thomas McEvilley Each of artistic director Okwui Enwezor’s six co-curators - Sarat Maharaj, Octavio Zaya, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez and Mark Nash - spoke briefly, followed by Enwezor himself. Maharaj identified the point of art today as ‘knowledge production’ and the point of this exhibition as ‘thinking the other’; Nash declared that the exhibition aimed to explore ‘issues of dislocation and migration’ (‘We’re all becoming transnational subjects’, he observed); Ghez stressed the unusual fact that as many as 70% of the works in the show were made explicitly for the Back to the main site occasion; Basualdo spoke of ‘establishing a new geography, or topology, of culture’; and Bauer spoke of ‘deterritorialization’. Finally, Enwezor began his reflections by referring to Chinua Achebe’s classic novel of pre-colonial Africa Things Fall Apart (1958). He spoke of the emergence of post-colonial identity, and said that he and his colleagues had aimed at something much larger than an art exhibition: they were seeking to find out what comes after imperialism. These remarks were significant because Documenta, along with the Venice Biennale, is one of the foremost venues at which the current cultural politics of the art world is laid out. In a sense the agenda proclaimed by these curators gave one a sense of déjà vu; or rather, it seemed not exactly to usher in a new era but to set a seal on an era first announced long ago. -
Increments of Fourteen Rachel C
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 Increments of Fourteen Rachel C. Edwards Scripps College Recommended Citation Edwards, Rachel C., "Increments of Fourteen" (2010). Scripps Senior Theses. Paper 21. http://scholarship.claremont.edu/scripps_theses/21 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Inside My Space: A Photo Documentation of my Personal Possessions by Rachel C. Edwards Submitted to Scripps College in Partial Fulfillment of the degree of Bachelor of Arts Professor Rankaitis Professor Macko Professor Davis May 3, 2010 1 As a child I loved holding things: coins, shells, shiny rocks. I was always on a quest to search, find, and collect these prized objects. As I grew older, I became more attuned with the meaning attached to objects and more aware of my own possessions. Coins were more than something to save and hold; they were significant because they could be earned and spent. And upon getting a job, spend I did, on shoes, glasses, handbags, dresses, jeans, journals, music, paint...I kept my ever-growing collection of personal goods under my bed, on the bookshelf, in the closet, in various stages between disarray and organization. There is nothing special or unique about my experience particularly among middle-to upper class youth in America. Upon arriving at college however, my classes, peers, and involvement with Intervarsity Christian Fellowship challenged me to rethink the value I place in material possessions. -
On Kawara Unanswered Questions Personal Structures Art Projects # 04 on Kawara
ON KAWARA UNANSWERED QUESTIONS Personal Structures Art Projects # 04 ON KAWARA ON KAWARA UNANSWERED QUESTIONS UNANSWERED QUESTIONS This book is the documentation of Personal Structures Art Projects #04. It has been published as a limited edition. The edition comprises 250 copies of which 50 DeLuxe, numbered from 1 to 50, and 50 DeLuxe hors commerce, numbered from I to L. The 150 Standard copies are numbered from 51 to 200. Each item of this limited edition consists of a book and a CD in a case, housed together in a cassette. The DeLuxe edition additionally contains a postcard with a question for On Kawara, returned to sender. This limited edition has been divided as follows: # 1-50: DeLuxe edition: Luïscius Antiquarian Booksellers, Netherlands # 51-200: Standard edition: Luïscius Antiquarian Booksellers, Netherlands HC I-L: Not for trade © 2009-2011. Text by Karlyn De Jongh © 2007-2009. Questions by the authors 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, electronic, mechan- ical, photocopying, recording or otherwise, without permission of the editor. Concept by Rene Rietmeyer and Sarah Gold Design by Karlyn De Jongh Printed and bound under the direction of Andreas Krüger, Germany Production in coöperation with Christien Bakx, www.luiscius.com Published by GlobalArtAffairs Foundation, www.globalartaffairs.org KARLYN DE JONGH ON Kawara: UNANSWERED QUESTIONS Today is Saturday, 19 December 2009, and right now I am in my apart- ment in Venice, Italy. My name is Karlyn De Jongh. I am an indepen- dent curator and author from the Netherlands and I have spent two years working on the project Unanswered Questions to On Kawara. -
Georges Perec and on Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University ______
Satin: Endotic Extravagance 50 Georges Perec and On Kawara: Endotic Extravagance in Literature, Art, and Dance Leslie Satin New York University _____________________________________ Abstract: This article analyzes the work of Georges Perec and On Kawara, two artists who have radically recast our understanding of space and time in literature and the visual arts, through the lens of the author’s post-modern dance practice and scholarship. Both artists, deeply affected by the chaos of World War II, began working in the mid- twentieth century: experimental author Georges Perec (1936-1983), known for his affiliation with OuLiPo (Ouvroir de Littérature Potentielle, or Workshop for Potential Literature), the organization founded in 1960 to ratchet up the possibilities for conceiving and creating utterly new, or ‘potential’, literature, and On Kawara (1932- 2014), the Conceptual artist known for his large-scale recasting of personal and historical time, and his conversion of ‘private life’ into vast archives of documentary recording. The article looks both at spatial elements in the work of these artists, and at spatialized responses to their words and objects. It investigates Perec’s and Kawara’s divergent ideas of the everyday, as articulated through their practices—particularly their commitment to compositional scores and games exemplifying the ludic, and their insistence on the importance of seeing and noticing—and the implications of those practices, and the work they produced, regarding facticity, embodiment, self-representation, transformation, and, above all, the ongoing articulation of space and, by extension, time. Informed by work in human geography; affect, literary, and performance theory; and phenomenology, and by the writer’s experience in dance as a practice and area of scholarship, the article links these practices and ideas to those of post-modern dance to explore the fluid relationships among space, movement, bodies, and objects.