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All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
VITO ACCONCI Born 1940 Bronx, New York
GRIEDER CONTEMPORARY VITO ACCONCI born 1940 Bronx, New York. Lives and works in Brooklyn, NY. 1962 Bachelor of Arts, Holy Cross College, Worcester, Massachusetts, US 1964 Master of Fine Arts, University of Iowa, Iowa City, Iowa, US Solo Exhibitions (selected) 2014 Vito Acconci: Now and Then, Grieder Contemporary, Zurich, CH 2012 Vito Acconci: Vito Acconci, Rhona Hoffman Gallery, Chicago, US 2011 Vito Acconi, Galleria Fumagalli, Bergamo, IT 2010 AAA Talk Vito Acconci + Ai Weiwei: Artist in Conversation, Agnès b. Cinema, Wanchai, HK Early Works – Vito Acconci, Basis Frankfurt, Frankfurt/Main, DE Coinvolgimenti – Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Lobby-For-The-Time-Being, Bronx Museum of the Arts (BxMA), New York City, NY Le Corps Comme Sculpture – Vito Acconci, Musée Auguste Rodin, Paris, FR 2009 Vito Acconci: Language Works – Video, audio and poetry, Argos, Brussels, BE 2008 Vigilancia y control, Centro de Arte La regenta, las Palmas de Gran Canaria, ES Power Fields: Explorations in the Work of Vito Acconci, Slought Foundation, Philadelphia, PA, US 2005 Self/Sound/City, Foundation for Art and Creative Technology (FACT), Liverpool, UK Vito Hannibal Acconci Studio, Museu d’Art Contemporani de Barcelona, ES; Centro Atlantico de Arte Moderno, Las Palmas, Gran Canaria, ES; Stedelijk, Amsterdam, NL 2004 Diary of a Body, Gladstone Gallery, New York, NY Vito Hannibal Acconci Studio, Musee des Beaux Artes, Nantes, FR; MACBA, Barcelona, ES 2003 Rehearsals for Architecture, Kenny Schachter Rove, Perry St., New York, NY, US Acconci Studio – Slipping into the 21st Century, Pratt–Manhattan Gallery, New York, NY, US 2002 Vito Acconci/Acconci Studio: Acts Of Architecture, Milwaukee Museum of Art (Traveled to Aspen Art Museum, Miami Museum of Art 2001,Contemporary Art Museum Houston 2001) 2001 Vito Acconci, 11 Duke Street, London, UK Vito Acconci / Acconci Studio, Architectural Models, The Institute for the Cooperatic Research, New York, US, and Paris, FR Built, Unbuilt, Unbuildable. -
I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Double Embodiments
6 DOUBLE EMBODIMENTS Felix Gonza lez-To rres's Certifi cate s AKING A SHEET OF PAPER OR A WRAPPED candy from a stack or pile by Felix Gonzalez-Torres ranks among T the most iconic contemporary art experiences (fig. 81). Even when one is told that the artist wanted viewers to break the "no touch" rule defining museum and gallery spaces, part ici pation feels transgressive . At least one viewer described feeling crimina lly complicit, nervously "scanning the exhibition space for surveillance cameras ."1 Others take candies by the handfu l (teenage boys are particularly eager). Audiences familiar with the story behind "Untitled" (Portrait of Ross in L.A.) take candy reverently, as if paying their respects to a grave in reverse. When the paper stacks are low, viewers sometimes take a sheet only to return it later, as if unwilling to deny someone else the oppor tunity of engagement. Massed into neat stacks or herded into a comer, the paper stacks and candy spills recall the rigorous geom etry of Minimalist sculpture. The rigor promises us, as critic Jennifer Doyle writes of museum and gallery experiences, free dom from "the burdens of an emotional life."2 But as the piles 191 FIGURE 8 1 Foreground: Felix Gonzalez-Torres , "Untitled," 19 89/90 . Print on paper, endless copies . 26 inch es (at ideal height) x 29 x 23 inches (original paper size). Background: Felix Gonzalez-Torres, "Untitled" (ForJ eff), 1992. Billboard , dimensions variable. Installation view: "Felix Gonzalez-Torres: This Place," Metropolitan Arts Centr e, Belfast, 2015-2016. © Felix Gonzalez-Torres Foundation. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Sito STORIA2 RS INGLESE REVISED
You may download and print this text by Roberta Serpolli, solely for personal use THE PANZA COLLECTION STORY “The Panza Collection is entirely a couple’s affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, ‘looking’ is an issue.” Giuseppe Panza, 20091 Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from post- World War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their far- sightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market. The Beginnings of the Collection: On the Road to America The collection ideally began in 1954 when Giuseppe, at the age of thirty years, traveled to South America and the United States, from New York to Los Angeles, where he discovered the continents’ captivating vitality of economy and culture. Upon his return to Milan, he felt the need to take part in the international cultural milieu. In 1955, shortly after his marriage with Giovanna Magnifico, Giuseppe purchased his first work of art by Italian abstract painter Atanasio Soldati. -
Casa Jorn, Sintesi Immaginista Delle Arti Casa Jorn, Imaginist Synthesis of the Arts
Firenze Architettura (2, 2018), pp. 90-95 ISSN 1826-0772 (print) | ISSN 2035-4444 (online) © The Author(s) 2018. This is an open access article distribuited under the terms of the Creative Commons License CC BY-SA 4.0 Firenze University Press DOI 10.13128/FiAr-24829 - www.fupress.com/fa/ Nel 1957, poco prima di fondare a Cosio d’Arroscia l’Internazionale Situazionista, Asger Jorn comprò due ruderi circondati da rovi sulle alture di Albissola Marina, per andarvi ad abitare. Trasformati e modellati per quasi vent’anni, i due edifici e il giardino rispecchiano l’idea di sintesi immaginista delle arti che l’artista danese ha sempre perseguito: un luogo in cui pittura e scultura sono elementi fondanti l’architettura, in una perfetta coincidenza tra forma e contenuto. In 1957, shortly before founding in Cosio d’Arroscia the Situationist International, Asger Jorn bought two ruins surrounded by brambles above Albissola Marina with the intention of living there. Transformed and modeled for almost twenty years, the two buildings and the garden reflect the idea of imaginist synthesis of the arts that the Danish artist always pursued: a place where painting and sculpture are founding elements of the architecture, in a perfect harmony between from and content. Casa Jorn, sintesi immaginista delle arti Casa Jorn, imaginist synthesis of the arts Davide Servente Nel 1954 Asger Jorn, povero e debilitato dalla tubercolosi, si tra- In 1954 Asger Jorn, impoverished and weakened by tuberculosis, sferì con la numerosa famiglia ad Albissola Marina. Il piccolo paese moved with his large family to Albissola Marina. -
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. -
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THE MUSEUM OF MODERN ART ACQUIRES MAJOR COLLECTION OF CONCEPTUAL ART FROM SETH SIEGELAUB AND THE STICHTING EGRESS FOUNDATION, AMSTERDAM New York, June 10, 2011—The Museum of Modern Art has acquired a major group of works from the collection of exhibition organizer, publisher, and dealer Seth Siegelaub, a key supporter of artists working in dematerialized art practices in the late 1960s and early 1970s. The collection includes 20 defining works of Conceptual art by Vito Acconci, Robert Barry, Douglas Huebler, On Kawara, Joseph Kosuth, Robert Smithson, and Lawrence Weiner, all of whom moved away from the traditional production of objects and chose instead to explore language, sound, time, movement, or mapping as their primary mediums. In addition, Seth Siegelaub and the Stichting Egress Foundation have donated to The Museum of Modern Art Archives Siegelaub’s own extensive archives, containing correspondence, photographs, notes, exhibition proposals, and many other significant documents that offer a tremendous resource to scholars of this period. As part of the acquisition, Siegelaub has given the Museum four major works: Robert Barry’s 90mc Carrier Wave (FM), 1968, which transmits inaudible radio waves throughout a given space; Douglas Huebler’s Duration Piece No. 6 (1969), a series of photographs documenting the gradual dissemination of a rectangle made of sawdust on the floor of Siegelaub’s ―January 5–31, 1969‖ exhibition; Joseph Kosuth’s Titled (Art as Idea as Idea). The Word “Definition,” (1966- 1968), an early Photostat enlargement of a dictionary entry for the word ―definition;‖ and Lawrence Weiner’s A 36” x 36” Removal to the Lathing or Support Wall of a Plaster or Wallboard from the Wall (1968), a work which, according to the artist’s statement, can be fabricated or can simply exist as language. -
Tate Papers Issue 12 2009: Lucy R. Lippard
Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.