Synopses & Reviews
The legacies of conceptualism include the several different notions of critique it engendered. This collection of essays by art historians from Europe and the Americas considers the reception of conceptual art as seen in the sometimes contentious, sometimes contradictory, and sometimes affirmative modes of critique it inspired. The essays pursue three lines of investigation into the reception of conceptual art over the past three decades: forms of identity politics, including not only class, gender, race, and sexuality but also North/South and East/West dynamics; discourses that contextualize conceptual art practices in terms of Michel Foucault's and Giorgio Agamben's ideas of biopolitics; and issues of global conceptualism, including artistic inclusion and exclusion and conceptualism's relation to globalization.Topics discussed include Central Eastern European postconceptualism; the notion of labor in the art practices of Bernadette Corporation, Mathias Poledna, and others; the mutual influence of the Pictures generation of postconceptualists in the United States and Second Order painters in Germany; feminism in the work of Judy Chicago, Mary Kelly, Martha Rosler, and others in the 1970s and 1980s; and queer politics within postconceptual practices, including the kitsch factor and anti-intellectualism sometimes found in works by such artists as Nayland Blake and Ray Johnson. With conceptualism's legacy of critique as their focus, these essays present the multivalent artistic practice of conceptualism in all of its complexity.Distributed for the Generali Foundation, Vienna
Review
The pointed differences of opinion and radical departures from established theory considered here instead offer a fresh perspective on the implication of working in a conceptual mode in the global arena of the 21st century. This is an important prompt to a developing discussion. The MIT Press
Review
andlt;Pandgt;"The pointed differences of opinion and radical departures from established theory considered here instead offer a fresh perspective on the implication of working in a conceptual mode in the global arena of the 21st century. This is an important prompt to a developing discussion." andlt;Iandgt;Canadian Artandlt;/Iandgt;andlt;/Pandgt; The MIT Press The MIT Press
Synopsis
Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s.
Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.
Distributed for the Generali Foundation, Vienna.
Synopsis
Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s.
Synopsis
Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.
Distributed for the Generali Foundation, Vienna.
Synopsis
Distributed for the Generali Foundation, Vienna
Synopsis
andlt;Pandgt;Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s.andlt;/Pandgt;
Synopsis
andlt;Pandgt;Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.Distributed for the Generali Foundation, Viennaandlt;/Pandgt;
About the Author
Alexander Alberro is Virginia Bloedel Wright '51 Associate Professor of Art History at Barnard College. He is the author of Conceptual Art and the Politics of Publicity (2000), and coeditor (with Blake Stimson) of Conceptual Art: A Critical Anthology (2000), both published by the MIT Press.Sabeth Buchmann, an art historian and critic, is Professor of Modern and Postmodern Art and Head of the Institute for Art Theory and Cultural Studies at the Academy of Fine Arts Vienna.