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- an introductory essay charting the genealogy of the theme or movement- c.250 plates presenting the most significant works of art- an anthology of documents including artists' statements, interviews, manifestos, project notes; reviews and articles by key critics; parallel texts from other cultural, philosophical and literary sources- biographies of all artists and authors- comprehensive bibliography- index

Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.

- an introductory essay charting the genealogy of the theme or movement- c.250 plates presenting the most significant works of art- an anthology of documents including artists' statements, interviews, manifestos, project notes; reviews and articles by key critics; parallel texts from other cultural, philosophical and literary sources- biographies of all artists and authors- comprehensive bibliography- index

Conceptual art consisted of a loose collection of related practices that emerged worldwide during the 1960s and 1970s. This collection of essays offers readers a wealth of new research on the earliest international exhibitions of Conceptual art; new interpretations of some of its most important practitioners; and a reconsideration of the relationship between Conceptual art and the intellectual and social context of the 1960s and 1970s. Of special note are the contributions that focus on the explicitly social and political aspirations of this influential avant-garde artistic practice.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Conceptual art is an art of ideas which can be written, enacted or carried in your head, challenging the notion that a work of art is an object of visual pleasure. This text combines survey essays, key words, descriptions and an anthology of key texts.

5 1/2 x 8" with 227 pgs. copyright 1972 "First Edition" - Ursula Meyer, sculptor and writer, Associate Professor of Art at Herber M. Lehman College of the City University of New York. Her work is in the premanent collections of the Finch College Museum, The Brooklyn Museum, The Neward Museum and the Larry Aldrich Museum. Book contains b/w photos and b/w illustrations.

What is art? Must it be a unique, saleable luxury item? Can it be a concept that never takes material form? Or an idea for a work that can be repeated endlessly? Conceptual art favours an engagement with such questions. As the variety of illustrations in this book shows, it can take many forms: photographs, videos, posters, billboards, charts, plans and, especially, language itself. Tony Godfrey has written a clear, lively and informative account of this fascinating phenomenon. He traces the origins of Conceptual art to Marcel Duchamp and the anti-art gestures of Dada, and then establishes links to those artists who emerged in the 1960s and early 1970s, whose work forms the heart of this study: Joseph Kosuth, Lawrence Weiner, Victor Burgin, Marcel Broodthaers and many others.

Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

An examination of the origins and legacy of the conceptual art movement.Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.

Conceptual art is an art of ideas which can be written, enacted or carried in your head, challenging the notion that a work of art is an object of visual pleasure. This text combines survey essays, key words, descriptions and an anthology of key texts.

As befits an art of the mind, 'Conceptual art' poses problems right from the start. What was it? When was it? (Is it still around or is it 'history'?) Where was it? Who made it? (Are we to consider 'X' a Conceptual artist or not?) And of course, the umbrella-question: why? Why produce a form of visual art premised on undercutting the two principal characteristics of art as it has come down to us in Western culture, namely the production of objects to look at, and the act of contemplative looking itself?...These are real questions ... Looked at in one way, Conceptual art gets to be like Lewis Carroll's Cheshire cat, dissolving away until nothing is left but a grin: a handful of works made over a few short years by a small number of artists, the most important of whom soon went on to do other things. Then again, regarded under a different aspect, Conceptual art can seem like nothing less than the hinge around which the past turned into the present: the modernist past of painting as the fine art, the canon from Cezanne to Rothko, versus the postmodernist present where contemporary exhibition spaces are full of anything and everything, from sharks to photographs, piles of rubbish to multi-screen videos -- full, it seems, of everything except modernist painting.

Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are frequently not object-based creates challenges when exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies of conceptualist group shows, and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, as well as the influence of curators in their canonization.The aim of the book is not to offer clear-cut practical solutions but to raise awareness within the traditional curatorial field. It is relevant for students of art and culture (particularly museum and curatorial studies), art and museum professionals, and anyone interested in the art of the 1960s and 1970s.

Conceptual art consisted of a loose collection of related practices that emerged worldwide during the 1960s and 1970s. This collection of essays offers readers a wealth of new research on the earliest international exhibitions of Conceptual art; new interpretations of some of its most important practitioners; and a reconsideration of the relationship between Conceptual art and the intellectual and social context of the 1960s and 1970s. Of special note are the contributions that focus on the explicitly social and political aspirations of this influential avant-garde artistic practice.

An examination of the origins and legacy of the conceptual art movement.Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.

Brilliant concepts This guide to conceptual art traces the issues and concerns of the first generation of artists involved in the foundation of the movement, with an essay exploring the historical basis of conceptual art, its relationship to the dominant aesthetics of the 1960s, namely the modernist theory of Clement Greenberg and his disciples, and the influence of conceptual art on today’s art and cultural climate.

Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are frequently not object-based creates challenges when exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies of conceptualist group shows, and an extensive introduction in which the paradox of conceptual art is analyzed. It also elaborates on the history of exhibiting conceptual artworks, as well as the influence of curators in their canonization.The aim of the book is not to offer clear-cut practical solutions but to raise awareness within the traditional curatorial field. It is relevant for students of art and culture (particularly museum and curatorial studies), art and museum professionals, and anyone interested in the art of the 1960s and 1970s.

Recording Conceptual Art features a highly provocative series of previously unpublished interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultuous 1960s. The nine individuals—eight artists and one art dealer—are now known as major contributors to Conceptual art. These fascinating dialogues, conducted by Patricia Norvell, provide tantalizing moments of spontaneous philosophizing and brilliant insights, as well as moments of unabashed self-importance, with highly imaginative and colorful individuals.

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.

Art into Ideas provides an overview of one of the most important and influential developments in American and European art over the past thirty years. Focusing on works by a range of international artists, including Joseph Kosuth, Hans Haacke, Sherrie Levine and Joseph Beuys, Robert Morgan defines and elucidates the premises of conceptual art. He examines its evolution, from its inception in the 1960s through the 1980s, relating the movement to historical and cultural contexts, as well as to important theoretical and critical issues that emerged during these decades. Defining three primary modes of representation that characterise conceptual art - the philosophical, the structural, and the systemic - Morgan then applies these concepts in analyses of a variety of media, including painting, photography, books, and performance.