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[by] Mason Williams, Edward Ruscha [and] Patrick Blackwell. [New York, G. Wittenborn, 1967]. TR654 .W5 ARTLCKS |
Philosophy and conceptual art
edited by Peter Goldie and Elisabeth Schellekens.
Oxford : Clarendon Press ; Oxford ; New York : Oxford University Press, 2007.
xxi, 273 p., [12] p. of plates : ill. ; 25 cm.
BH39 .P474 2007
This book attempts to analyze Conceptual art using the language of philosophy, asking what constitutes Conceptual art, how Conceptual art and aesthetics intersect, what intellectual value Conceptual art carries, and on what level(s) Conceptual art should be appreciated.
edited by Peter Goldie and Elisabeth Schellekens.
Oxford : Clarendon Press ; Oxford ; New York : Oxford University Press, 2007.
xxi, 273 p., [12] p. of plates : ill. ; 25 cm.
BH39 .P474 2007
This book attempts to analyze Conceptual art using the language of philosophy, asking what constitutes Conceptual art, how Conceptual art and aesthetics intersect, what intellectual value Conceptual art carries, and on what level(s) Conceptual art should be appreciated.
New art in the 60s and 70s : redefining reality.
Anne Rorimer.
London : Thames & Hudson, 2001.
304 p. : ill. ; 25 cm.
N6490 .R67 2001
Rorimer's thorough survey takes a thematic approach, dividing the topic of Conceptual art into sections treating photography, the changing meaning of "medium," the use of systems, the exploration of subjectivity, and the concept of site. She places extended focus upon individual artists and specific works as they apply to these themes and provides a comprehensive historical and philosophical background for the artistic developments she is tracing. Indeed, aside from its somewhat plodding cadence, the book provides a remarkably complete introduction to Conceptual art; it can be considered the authoritative monograph on the topic. For a more nuanced discussion of the role of women artists and of influences from the other arts (music, literature, etc.), see Tony Godfrey's Conceptual Art. See also Rorimer and Ann Goldstein's exhibition catalog Reconsidering the Object of Art: 1965–1975, which introduces the topic through individual artist entries.
Anne Rorimer.
London : Thames & Hudson, 2001.
304 p. : ill. ; 25 cm.
N6490 .R67 2001
Rorimer's thorough survey takes a thematic approach, dividing the topic of Conceptual art into sections treating photography, the changing meaning of "medium," the use of systems, the exploration of subjectivity, and the concept of site. She places extended focus upon individual artists and specific works as they apply to these themes and provides a comprehensive historical and philosophical background for the artistic developments she is tracing. Indeed, aside from its somewhat plodding cadence, the book provides a remarkably complete introduction to Conceptual art; it can be considered the authoritative monograph on the topic. For a more nuanced discussion of the role of women artists and of influences from the other arts (music, literature, etc.), see Tony Godfrey's Conceptual Art. See also Rorimer and Ann Goldstein's exhibition catalog Reconsidering the Object of Art: 1965–1975, which introduces the topic through individual artist entries.
Conceptual art : a critical anthology
edited by Alexander Alberro and Blake Stimson
Cambridge, Mass. : MIT Press, c1999
lii, 569 p. : ill. ; 24 cm
N6494 .C63 C597 1999
This collection of artists' statements, interviews, essays, and commentaries ranging in date from 1966-1977 is a valuable sourcebook and introduction to the contemporary literature. The introductory essays by editors Alberro and Stimson review the critical and political contexts surrounding the writings they've selected; their summary nature, however, is augmented by argument and commentary, making it clear that the entire text is not meant to be an exhaustive and unbiased anthology. Rather, the inclusions and exclusions follow an editorial trajectory, delineating the various models and ambitions of Conceptual art. Conceptual Art: A Critical Anthology becomes, therefore, both a guide for further study (Alberro and Stimson's notes are numerous) and its own Conceptual document. For a collection of artists' writings that integrates Conceptual art with other contemporary practice, see Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, edited by Kristine Stiles and Peter Selz.
edited by Alexander Alberro and Blake Stimson
Cambridge, Mass. : MIT Press, c1999
lii, 569 p. : ill. ; 24 cm
N6494 .C63 C597 1999
This collection of artists' statements, interviews, essays, and commentaries ranging in date from 1966-1977 is a valuable sourcebook and introduction to the contemporary literature. The introductory essays by editors Alberro and Stimson review the critical and political contexts surrounding the writings they've selected; their summary nature, however, is augmented by argument and commentary, making it clear that the entire text is not meant to be an exhaustive and unbiased anthology. Rather, the inclusions and exclusions follow an editorial trajectory, delineating the various models and ambitions of Conceptual art. Conceptual Art: A Critical Anthology becomes, therefore, both a guide for further study (Alberro and Stimson's notes are numerous) and its own Conceptual document. For a collection of artists' writings that integrates Conceptual art with other contemporary practice, see Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, edited by Kristine Stiles and Peter Selz.
Conceptual Art.
Ursula Meyer.
New York, Dutton, 1972.
xx, 227 p. illus. 21 cm.
N6494.C63 M45
As in Lucy Lippard's Six Years, this collection of photographs, diagrams, drawings, essays, statements, and interviews (conducted by Meyer) provides contemporary documentation rather than outright analysis. As such, the task of defining and negotiating the field is left to the artists themselves (though Meyer's editorial hand is evident, of course, in her choice of artists to represent the subject). Joseph Kosuth, for example, is represented by his iconic essay "Art After Philosophy;" On Kawara by a selection of I Got Up postcards; the Bechers by a short essay describing "the function of cooling-towers" and by a sample of their typological photographs. Meyer's text serves today as both a source of primary texts and a larger primary text itself, an artifact of the field's early critical reception.
Ursula Meyer.
New York, Dutton, 1972.
xx, 227 p. illus. 21 cm.
N6494.C63 M45
As in Lucy Lippard's Six Years, this collection of photographs, diagrams, drawings, essays, statements, and interviews (conducted by Meyer) provides contemporary documentation rather than outright analysis. As such, the task of defining and negotiating the field is left to the artists themselves (though Meyer's editorial hand is evident, of course, in her choice of artists to represent the subject). Joseph Kosuth, for example, is represented by his iconic essay "Art After Philosophy;" On Kawara by a selection of I Got Up postcards; the Bechers by a short essay describing "the function of cooling-towers" and by a sample of their typological photographs. Meyer's text serves today as both a source of primary texts and a larger primary text itself, an artifact of the field's early critical reception.
Art into ideas : essays on conceptual art
Robert C. Morgan
Cambridge ; New York : Cambridge University Press, 1996
N6494.C63 M67 1996
Art Into Ideas covers the topic quite broadly and touches upon its largest themes: its theoretical underpinnings, its subject matter, its cultural and political engagements, and its varied physical forms. As it is a collection of previously, separately published essays, however, it is by no means an introductory survey; instead, it is, in a sense, a set of case studies. Chapter titles include "Robert Barry's Return to the Visible," "The Making of Wit: Joseph Kosuth and the Freudian Palimpsest," and "Sherrie Levine: Language Games." Morgan's intention is to allow the essays' juxtaposition to illustrate what he sees as the three modes employed by Conceptual artists: the structuralist, the systemic, and the philosophical. Still, the book might be equally useful as a more straightforward anthology, a source of critical thoughts on some of the key artists of the period.
Robert C. Morgan
Cambridge ; New York : Cambridge University Press, 1996
N6494.C63 M67 1996
Art Into Ideas covers the topic quite broadly and touches upon its largest themes: its theoretical underpinnings, its subject matter, its cultural and political engagements, and its varied physical forms. As it is a collection of previously, separately published essays, however, it is by no means an introductory survey; instead, it is, in a sense, a set of case studies. Chapter titles include "Robert Barry's Return to the Visible," "The Making of Wit: Joseph Kosuth and the Freudian Palimpsest," and "Sherrie Levine: Language Games." Morgan's intention is to allow the essays' juxtaposition to illustrate what he sees as the three modes employed by Conceptual artists: the structuralist, the systemic, and the philosophical. Still, the book might be equally useful as a more straightforward anthology, a source of critical thoughts on some of the key artists of the period.
Art after conceptual art
edited by Alexander Alberro and Sabeth Buchmann
Cambridge, Mass. : MIT Press ; Vienna, Austria : Generali Foundation, c2006
240 p. : ill. ; 23 cm
N6494 .C63 A735 2006
An anthology of original essays by authorities in the field (the first four essays, by Benjamin Buchloh, Thomas Crow, Helen Moleswoorth, and Ricardo Basbaum, have been reprinted), this volume both revisits and reevaluates earlier interpretations of various aspects of Conceptual art and extends these interpretations into contemporary practice. Several of the authors revisit old themes in order to unearth the work of important yet relatively unknown artists of the 1970s (e.g., Christopher Williams, Jaroslaw Kozlowski, and Bas Jan Ader); some seek to challenge the fixity of Conceptual art's supposed theoretical opposition to other forms of artistic expression (Neo-expressionism, design); others discuss the work of more recent artists--some outside of the United States and Western Europe--who are not only extending but complicating Conceptual art's legacy. This a challenging text, one that might best be approached after one has a solid footing in the subject.
edited by Alexander Alberro and Sabeth Buchmann
Cambridge, Mass. : MIT Press ; Vienna, Austria : Generali Foundation, c2006
240 p. : ill. ; 23 cm
N6494 .C63 A735 2006
An anthology of original essays by authorities in the field (the first four essays, by Benjamin Buchloh, Thomas Crow, Helen Moleswoorth, and Ricardo Basbaum, have been reprinted), this volume both revisits and reevaluates earlier interpretations of various aspects of Conceptual art and extends these interpretations into contemporary practice. Several of the authors revisit old themes in order to unearth the work of important yet relatively unknown artists of the 1970s (e.g., Christopher Williams, Jaroslaw Kozlowski, and Bas Jan Ader); some seek to challenge the fixity of Conceptual art's supposed theoretical opposition to other forms of artistic expression (Neo-expressionism, design); others discuss the work of more recent artists--some outside of the United States and Western Europe--who are not only extending but complicating Conceptual art's legacy. This a challenging text, one that might best be approached after one has a solid footing in the subject.
Conceptual art
edited by Peter Osborne
London ; New York : Phaidon, 2002
304 p. : ill. (some col.) ; 30 cm
N6494 .C63 C587 2002 F
As with all of the texts in the Themes and Movements series, Osborne's includes a lengthy survey essay that is nuanced enough to provide a cursory introduction to the forerunners, practitioners, theories, and pervasive themes of Conceptual art. Its biggest value lies, however, in its large set of well-annotated images and its thematically organized compendium of [sometimes abridged] textual primary sources. It includes such iconic essays and transcribed documents as Sol LeWitt's "Paragraphs on Conceptual Art," Joseph Kosuth's "Art After Philosophy," and Seth Siegelaub's "Artist's Reserved Rights Transfer and Sale Agreement" (The original of this last item can be found in our Locked Stacks Collection; it is also addressed in detail in Maria Eichhorn's set of interviews, The Artist's Contract.).
edited by Peter Osborne
London ; New York : Phaidon, 2002
304 p. : ill. (some col.) ; 30 cm
N6494 .C63 C587 2002 F
As with all of the texts in the Themes and Movements series, Osborne's includes a lengthy survey essay that is nuanced enough to provide a cursory introduction to the forerunners, practitioners, theories, and pervasive themes of Conceptual art. Its biggest value lies, however, in its large set of well-annotated images and its thematically organized compendium of [sometimes abridged] textual primary sources. It includes such iconic essays and transcribed documents as Sol LeWitt's "Paragraphs on Conceptual Art," Joseph Kosuth's "Art After Philosophy," and Seth Siegelaub's "Artist's Reserved Rights Transfer and Sale Agreement" (The original of this last item can be found in our Locked Stacks Collection; it is also addressed in detail in Maria Eichhorn's set of interviews, The Artist's Contract.).
Conceptual art
Tony Godfrey
London : Phaidon Press, 1998
447 p. : ill. (some col.) ; 22 cm
N6494 .C63 G63 1998
One of the strength’s of Godfrey’s approach to Conceptual art is his foregrounding of the movement (if it can be considered one at all; this is certainly a subject for debate by its participants and theorists) by its predecessors: Dada, Neo-Dada, Happenings, Fluxus, Minimalism, Pop et al. Such contextual background highlights what was new and reactionary about the art of the 1960s and 1970s, and what was a continuation of earlier theoretical and stylistic explorations. Godfrey’s classification of the varieties of Conceptual art is similar to that of Anne Rorimer in her New Art in the 60s and 70s (serialism, linguistic focus, institutional critique, photograph as document, etc.), but he places more focus upon formal matters, gallerists and collectors, work by non-American artists, and parallel movements outside of the visual arts.
Tony Godfrey
London : Phaidon Press, 1998
447 p. : ill. (some col.) ; 22 cm
N6494 .C63 G63 1998
One of the strength’s of Godfrey’s approach to Conceptual art is his foregrounding of the movement (if it can be considered one at all; this is certainly a subject for debate by its participants and theorists) by its predecessors: Dada, Neo-Dada, Happenings, Fluxus, Minimalism, Pop et al. Such contextual background highlights what was new and reactionary about the art of the 1960s and 1970s, and what was a continuation of earlier theoretical and stylistic explorations. Godfrey’s classification of the varieties of Conceptual art is similar to that of Anne Rorimer in her New Art in the 60s and 70s (serialism, linguistic focus, institutional critique, photograph as document, etc.), but he places more focus upon formal matters, gallerists and collectors, work by non-American artists, and parallel movements outside of the visual arts.
Royal Road Test.
Family.
Images © Victor Burgin. Used with permission.
[expanded book viewer]
Victor Burgin.
New York : Lapp Princess Press, c1977.
1 v. : chiefly ill. ; 16 cm.
N7433.35 .U6 L37 1977 ARTLCKS
[expanded book viewer]
Victor Burgin.
New York : Lapp Princess Press, c1977.
1 v. : chiefly ill. ; 16 cm.
N7433.35 .U6 L37 1977 ARTLCKS
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