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In comparison to different avant-garde activities that emerged within the Nineteen Sixties, conceptual artwork has acquired fairly little severe cognizance through artwork historians and critics of the earlier twenty-five years—in half as a result of tricky, highbrow nature of the artwork. This loss of consciousness is very extraordinary given the super impression of conceptual paintings at the paintings of the final fifteen years, on severe dialogue surrounding postmodernism, and at the use of concept by way of artists, curators, critics, and historians.

This landmark anthology collects for the 1st time the main ancient files that helped provide definition and goal to the stream. It additionally includes newer memoirs by way of contributors, in addition to serious histories of the interval by way of a few of today’s top artists and paintings historians. a number of the essays and artists’ statements were translated into English particularly for this quantity. a significant portion of the alternate among artists, critics, and theorists came about in difficult-to-find limited-edition catalogs, small journals, and personal correspondence. those influential files are collected the following for the 1st time, besides a couple of formerly unpublished essays and interviews.

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2. The key essays in this context are reproduced in “Critical Histories of Conceptual Art,” part 3. To a considerable extent, these general definitions of conceptual art informed the most important book on the movement to date. Written by the art critic with the greatest amount of influence and insight in the tumultuous art world of the late 1960s, Lucy Lippard, Six Years: The Dematerialization of the Art Object, 1966–72 (1973) suggests that the notion that the work of art by necessity employs a certain type of materiality, visuality, and aesthetic quality is far from assured.

In seemingly by-passing all difficulties, attains full freedom, thus in fact nourishing the prevailing ideology. ” Daniel Buren, “Critical Limits” (1970), in Buren, Five Texts, trans. Laurent Sauerwein (New York: John Weber Gallery, 1973), p. 45. 31. “The Museum/Gallery, for lack of being taken into consideration, is the framework, the habit, . . ’ . . The museum is thus an excellent weapon in the hands of the bourgeoisie because its role, at first sight, is not tyrannical. It is indeterminate and self-evident.

8. ” 9. The best-known of such responses to Fried—“the orthodox modernist, the keeper of the gospel of Clement Greenberg, . . the Marxist saint”—is Robert Smithson’s letter to the editor of Artforum (October 1967) in response to Fried’s “Art and Objecthood” (Artforum, June 1967). , Robert Smithson: The Collected Writings (Berkeley: University of California Press, 1996), pp. 66–67. See also the many disparaging comments by those associated with Art & Language, including their comparison of Greenberg and Lenin in a 1971 interview with Catherine Millet translated in this volume.

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