Extra Readings Flashcards
(22 cards)
Robert Smithson interview, talking about non-sites
‘In a sense the non-site is the center of the system, and the site itself is the fringe or the edge.’
Hal Foster, ‘The Crux of Minimalism’ (1986),
To what order do these minimalist industrial object and pop art images point?
“To work in a series, to serial production and consumption, to the socio-economic order of
one-thing-after-another.”
Rosalind E. Krauss, ‘LeWitt in Progress’ (1977),
The babble of a LeWitt serial expansion has nothing of the economy of the mathematician’s language. It has the loquaciousness of the speech of children or the very old, in that its refusal to summarize, to use the single example that would imply the whole is like the feverish accounts of events composed of a string of almost identical details, connected by ‘and’.
Lucy Lippard and John Chandler
‘During the 1960s, the anti-intellectual, emotional/intuitive processes of art-making characteristic of the last two decades have begun to give way to an ultra-conceptual art that emphasizes the thinking process almost exclusively.’
Kynaston McShine, intro to the exhibition catalogue for Information
“If you are an artist in Brazil, you know of at least one friend who is being tortured; if you are one in Argentina, you probably have had a neighbor who has been in jail for having long hair, or for not being “dressed” properly; and if you are living in the United States, you may fear that you will be shot at, either in the universities, in your bed, or more formally in Indochina. It may seem too inappropriate, if not absurd, to get up in the morning, walk into a room, and apply dabs of paint from a little tube to a square of canvas. What can you as a young artist do that seems relevant and meaningful?”
Alex Potts
most obviously realist form of the mid C20th was pop art
imported the new visual realities of post-war culture into the art world
Ilya Kabakov
the artist was both the observer and the object of observation
Germano Celant
‘poveri’ means politics, politics is bound up in the everyday and expressed in art
Beuys
describes sculpture as abstract, art is about having something to say and saying it
Lawrence Weiner, Statements
never gives directions, states the artwork
art work doesn’t need to be built
Richard Hamilton
Pop-Fine Art, re-appropriation of pop culture
Claes Oldenburg
‘I am for an art that imitates the human’
Francis Frascina, Art, politics and dissent
in Feb 1970 the Art Worker’s Coalition and Art and Writer’s Protest sent out invitations to members and supporters of MoMA asking them to ask Picasso to have Guernica removed from public view in lihgt of the Vietnam war
Guerilla Action group removed Malevich’s ‘White on White’ from MoMA’s walls in 1969 and replaced it with the group’s manifesto
Robert Barry
argues that art and anti-art are the same thing
gas moves from a measured volume to indefinite expansion, continues expanding long after it has been released
Robert Smithson, Spiral Jetty
idea for the Spiral Jetty emerged from seeing the landscape
secured 20 year lease and began building
scale varies depending on where you are standing
made of mud, salt crystals and rocks.
Elsa Coustou
Ushio Shinohara, pop treatment of traditional subject matter, actors and spectators, faceless. left= parade leader and townswoman, right = young male prostitute and an oiran.
annual festival to pray for young girl’s growth and development.
refelcts on J symbols at a time when modernism and America was invading Japanese culture
Salah M Hassan
to understand El-Salahi’s work, we need to step away from the centre and periphery dichotomy inherent in modernism - Senegal was v culturally diverse and El-S underwent Western training.
Robin Adele Greeley
In Latin American, 1968 was a watershed year, new political actors, new developments and new modes of enacting the always problematic didactic between art and politics
Luis Camnitzer
where as Western conceptualism challenged art institutions, Latin American conceptualism challenged art itself and Latin American politics
Margit Rosen
information aesthetics, spread amongst artists’ circles since the late 1950s with no mention of computer art
Wouter Davidts
Imi Knoebel’s Room 19 - has since travelled around and been rebuilt in different spaces
can be read as a self-portrait of the artist in the studio, self-reflexive in manner of Matisse
Guy Brett, kinetic art
not about material movement, means that the work extends in time and space.
