Rewriting Conceptual Art (Reaktion Books - Critical Views) by Michael Newman, Jon Bird

By Michael Newman, Jon Bird

A global move that particular geographical-cultural styles, Conceptual paintings outfitted at the legacy of Marcel Duchamp, redefining the institutional and social relationships between construction, paintings and viewers in methods that have comprehensively reworked the character of the paintings item and different types of inventive perform, either traditionally and within the present.Investigating and documenting the histories, theories and varieties of Conceptual paintings, this well timed e-book, together with either verified writers and a brand new iteration of artwork historians, indicates that Conceptual paintings was once a vast move encompassing a number creative trends. this can be the main stimulating account of the move thus far, arguing forcefully for its power and capability in addition to studying its effect on paintings today.With essays by means of Alex Alberro, Stephen Bann, Jon poultry, David Campany, Helen Molesworth, Michael Newman, Peter Osborne, Birgit Pelzer, Desa Philipagesi, Anne Rorimer, Peter Wollen and William wooden.

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Rewriting Conceptual Art (Reaktion Books - Critical Views)

A world circulation that particular geographical-cultural styles, Conceptual artwork outfitted at the legacy of Marcel Duchamp, redefining the institutional and social relationships between creation, paintings and viewers in methods that have comprehensively remodeled the character of the paintings item and types of creative perform, either traditionally and within the current.

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These interactions also structure a physical journey that lasts until the client reaches the final destination and the play ends. As in Huebler’s Rochester Trip, a map is included in the published play text but the route it traces is structured not by an arbitrary protocol but by a series of human encounters, as with a Situationist dérive. In fact, it could be argued that Templeton’s piece is located conceptually somewhere between Debord and Huebler – as with Huebler, the itinerary is predetermined but, as with Debord, it consists of a series of chance meetings with ‘clients’ who arrived, one by one, as audience but ended up turning into performers as they were manipulated by actors who already knew the script – chance meetings, that is, to the ‘client’, while in reality each encounter had been carefully planned and scripted by Templeton.

In so far as there is philosophy in LeWitt, then, it is in his art and his criticism in qualitatively distinct forms. Still, despite its origins in his own artistic practice, the idea of Conceptual art outlined in ‘Paragraphs’ had implications far beyond anything Lewitt was himself producing as art at the time.

That Conceptual art appears now as one particular kind of art among others is testimony to the fact that its moment has passed, that its challenge has faded. That a large amount of the art amidst which it appears differently from the way in which art appeared before Conceptual art attests to its enduring effect. 4 It is important in this respect to distinguish two different levels at which disputes about the relationship between Conceptual art and philosophy have been conducted: the level at which those advocating an expansive, empirically diverse and historically inclusive use of the term ‘Conceptual art’ confront the champions of narrower, analytically more restricted, and explicitly ‘philosophical’ definitions; and the lower – and often more heated – level at which the latter dispute among themselves about the precise character of such definitions and the meaning and implications of their related practices and inquiries.

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