JOSEPH KOSUTH Selected Bibliography
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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 -
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. -
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). -
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. -
Joseph Beuys and the Reincarnation of German Romanticism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2003 Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren Elizabeth Smith University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Smith, Lauren Elizabeth, "Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism" (2003). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/601 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ----------------~~------~--------------------- Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smith College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. Conclusion 27 Notes Bibliography Figures Germany, 1952 o Germany, you're torn asunder And not just from within! Abandoned in cold and darkness The one leaves the other alone. And you've got such lovely valleys And plenty of thriving towns; If only you'd trust yourself now, Then all would be just fine. -
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. -
A Work for the Ara Pacis Mimmo Paladino Music By
Press release A WORK FOR THE ARA PACIS MIMMO PALADINO MUSIC BY BRIAN ENO Two great protagonists of contemporary art and music together again in Rome for a site-specific event designed for the Ara Pacis Museum managed by Achille Bonito Oliva, James Putnam e Federica Pirani Rome March 10th, 2008 From March 11th to May 11th 2008, the first site-specific event organised for the Ara Pacis Museum, the exhibition/event “A work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno” – managed by Achille Bonito Oliva, James Putnam and Federica Pirani, under the auspices of Comune di Roma, Assessorato alle Politiche Culturali Sovraintendenza ai Beni Culturali and organised by Zètema Progetto Cultura in line with Valentina Bonomo’s project – will be an opportunity for the two unquestioned protagonists of contemporary culture to meet again and work together after almost 10 years since their first joint project at the London Round House in 1999. The idea for “A Work for the Ara Pacis” is to create a single installation reconciling two different forms of art – Paladino’s figurative art and Eno’s music – and have it specifically designed for the Ara Pacis Musem. The project is further completed by the catalogue for the event edited by Gli Ori, Prato, and also titled: “A Work for the Ara Pacis. Mimmo Paladino | Music by Brian Eno”. More than 160 pages (in English and in Italian alike) of critical essays and pictures, including some extraordinary photographs taken by Ferdinando Scianna, who personally documented and followed every step of the exhibition. The critical essays include Ara Artis by Achille Bonito Oliva and Paladino/Eno at Ara Pacis by James Putnam. -
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. -
Bibliography
SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no. -
ONCURATING.Org N
ONN CURATING.org Issue 26 / October 2015 Notes on Curating, freely distributed, non-commercial Curating Degree Zero Archive: Curatorial Research With Contributions by Felix Ensslin Sabeth Buchmann Sergio Edelzstein Elke Krasny Avi Feldman Brian Holmes Ellen Blumenstein Dorothee Richter & Barnaby Drabble (eds.) Contents 02 86 Editorial “Something that has to do with life itself” Curating Degree Zero Archive: World of Matter and the Radical Imaginary Curatorial Research Brian Holmes Dorothee Richter and Barnaby Drabble 93 08 The Curator and Her Double. The Cruelty of Curating Degree Zero Archive 2003–2008 the Avatar Ellen Blumenstein 17 The Subject of Curating – Notes on the Path 101 towards a Cultural Clinic of the Present Thinking About Curatorial Education Felix Ensslin Dorothee Richter 32 110 Curating with/in the System Imprint Sabeth Buchmann 40 Are Boycotts the New “Collective Curating?” Sergio Edelsztein 51 Feminist Thought and Curating: On Method Elke Krasny 70 Performing Justice – From Dada’s Trial to Yael Bartana’s JRMiP Congress Avi Feldman Editorial Curating Degree Zero Archive: Curatorial Research Curating Degree Zero Archive. Curatorial Research Dorothee Richter & Barnaby Drabble When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly.