Not Signed-In
Which clippings match 'Art Object' keyword pg.1 of 2
09 MAY 2015

Six years: the dematerialization of the art object from 1966 to 1972

"Lippard was a primary critic and theorist of Conceptual art; this book, however, provides not commentary but, instead, primary documentation. It takes the form of an annotated, thematic timeline: the chapters list books (including exhibition catalogs) published each year, followed by articles, statements, activities, and works arranged by month. Photographs illustrate selected works. The annotations are, for the most part, as documentary as possible (transcripts, excerpts of artists' statements, etc.). Lippard's editorial hand is most visible in her inclusions and exclusions; less so in her only occasional textual insertions. As such, the book performs as Lippard had envisioned: 'to expose the chaotic network of ideas in the air, in America and abroad, between 1966 and 1971' (5)."

Lucy Lippard (1973). "Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some esthetic boundaries". New York: Praeger.

1

TAGS

1973 • Adrian Piper • Agnes Denes • Alighiero Boetti • Allan Kaprow • Allen Ruppersberg • annotationsart objectArt-Language • arte povera • Athena Tacha Spear • Barry Flanagan • Barry Le Va • Bas Jan Ader • Bernar Venet • Bruce McLean • Bruce Nauman • Carl Andre • Catherine Morris • chaotic network of ideas • Charles Harrison • Christine Kozlov • chronology • Claes Oldenburg • conceptual artcontemporary art • Dan Graham • Daniel Buren • David Askevold • dematerialisation of the art object • Dennis Adrian • Dennis Oppenheim • digital art production • Donald Burgy • Douglas Huebler • earth art • Edward Ruscha • Eldritch Priest • Eleanor Antin • ephemeral art • Franz Erhard Walther • Franz Walther • Frederick Barthelme • Gerald Ferguson • Gerry Schum • Gilbert and George • Guerrilla Art Action Group • Hanne Darboven • Hans Haacke • Ian Burn • Ian Wilson • idea art • immateriality • information art • Jack Burnham • James Lee Byars • Jan Dibbets • John Baldessari • John Latham • Joseph BeuysJoseph Kosuth • Keith Arnatt • Keith Sonnier • La Monte Young • land art • Lawrence Weiner • Lee Lozano • Lucy Lippard • material concerns • materiality of artefacts • Mel Bochner • Mel Ramsden • Michael Asher • Michael Heizer • Michael Snow • Michelangelo Pistoletto • minimal art • N.E. Thing Co. • object art • On Kawara • performance art • Peter Downsbrough • Peter Hutchinson • post-conceptual • post-conceptual art • post-conceptualism • postconceptual • postconceptualism • provocative book • Rafael Ferrer • Richard Artschwager • Richard Long • Richard Serra • Robert Barry • Robert Morris • Robert Ryman • Robert SmithsonSeth SiegelaubSigmar PolkeSol LeWitt • Stanley Brouwn • Stephen Kaltenbach • Tony Smith • Victor Burgin • video art movements • Vincent Bonin • Vito Acconci • Walter de Maria • William Wegman • William Wiley • Willoughby Sharp • Wolf Vostell • Yoko Ono

CONTRIBUTOR

Simon Perkins
15 FEBRUARY 2015

Smithsonian Libraries Artists' Books Collection Online

"Artists' books are works of art, like paintings or sculptures, but in book form. While book illustration has a much longer history, the book as art object is a product of the 20th century. Some of the early examples were created by Futurists and Dadaists in their politically–motivated pamphlets and magazines, by Fluxus artists in their happenings, and by conceptual artists' in their work to dematerialize the art object. Artists' books can also be unique creations undertaken with extreme care and attention to detail. Some are experimental and done by artists better known as painters or sculptors, as a way to extend their artistic practice. Many artists use the book format to create narratives to deal with difficult issues, with ideas that cannot be conveyed as clearly on a canvas or other medium. Some artist–made books illustrate the words of others, integrating art and literature. And some artists' books do not have words at all. As a work created by an artist, the nature, appearance and purpose, of an artist's book can be fundamentally different from what one might find on the shelves of the library.

Artists' books exist at the intersections of printmaking, photography, poetry, experimental narrative, visual arts, graphic design, and publishing. They have made a place for themselves in the collections of museums, libraries, and private collectors. They have caught the interest of art historians and critics writing about art, and there are numerous studio programs in art schools dedicated to the art of the book, ushering in new generations of artists making books."

1

2

TAGS

20th century • art and literature • art object • artist-made books • artists books • artists making books • Barbara Krugerbook formbook formatbook publishing • cataloguer • cataloguing challenge • Claire Van Vliet • Cooper Hewitt Library • cross-institution collaboration • culture onlineDada • defy easy classification • Dibner Library • diorama • Ed Ruscha • experimental books • FluxusFuturism (art movement) • Georges Adeagbo • graphic designhappenings • Hirshhorn Museum • Ida Applebroog • illustrating the words of others • Joe Freedman • Julie Chen • Kara Walker • Laura Davidson • library catalogue • Luan Nel • museum collectionsnational cultural heritage online • National Museum of African Art • National Portrait Gallery Library • online resource • pamphlets • paper engineering • photographypoetry • politically motivated • pop-up booksprintmaking • Smithsonian American Art Museum • Smithsonian Design Library • Smithsonian LibrariesSol LeWitt • the art of the book • Thomas Parker Williams • unusual physical features • Virginia Flynn • visual arts • Warren M Robbins Library • William Kentridgeworks of artYoko Ono

CONTRIBUTOR

Simon Perkins
03 OCTOBER 2014

Arnold Berleant: engagement as the participatory alternative to the aesthetic concept of disinterestedness

"Berleant (1991) proposes the explanatory concept of engagement as the participatory alternative to the aesthetic concept of disinterestedness and illustrates throughout his work the essentially participatory nature of appreciating art, nature, and the human built environment. Some forms of participation are overt in nature and require people to physically interact with the artwork – e.g. an artwork may require people to physically interaction in order to experience the artwork. Yet, Berleant argues, even more 'traditional' artworks require participatory engagement in that they are realized in the reciprocal relation between person and artwork. When we are immersed in aesthetic appreciation of an artwork, e.g. a painting, it is a process of participatory engagement in which we may imaginatively enter and explore the space of the painting. Moreover, engagement, according to Berleant, unfolds within a complex field of forces – the aesthetic field - that shape peoples experience Berleant (1970)"

(Christian Dindler and Peter Dalsgaard, 2009, p.2-3)

Berleant, A. (1991). 'Art and Engagement', Temple University Press, Philadelphia.
Berleant, A. (1970). 'The Aesthetic Field', CC Thomas, Springfield, Ill.

Dindler, C. and P. Dalsgaard (2009). "Peepholes as Means of Engagement in Interaction Design". Nordes 2009 - Engaging Artifacts. Oslo, Norge, Nordes – Nordic Design Research.

TAGS

2009 • aesthetic appreciation • aesthetic disinterestedness • aesthetic encounters • aesthetic engagement • aesthetic enquiry • aesthetic field • aesthetic of disinterestedness • aesthetic perception • aestheticsArnold Berleantart appreciationart objectartworks • Christian Dindler • Classical arts • contemporary artexplanatory concept of engagementimmersive experience • Nordic Design Research • participatory engagement • Peter Dalsgaard • physical interaction • traditional aesthetics

CONTRIBUTOR

Simon Perkins
12 SEPTEMBER 2014

MoMA: Geometry of Motion 1920s/1970s

Geometry of Motion 1920s/1970s, March 19–July 28, 2008, The Yoshiko and Akio Morita Media Gallery, second floor, The Museum of Modern Art.

"This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or 'New Vision,' generation of artists, among them László Moholy–Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta–Clark, Robert Smithson, and Anthony McCall in the 1970s. Drawing attention to the conditions and complexities of perception–both within the framework of institutional display and in other surroundings–these artists have redefined the social potential of visual agency."

1
2

3

TAGS

1920s1970safterimage • Anthony McCall • art object • artistic lineage • durationEl Lissitzkyexhibitionexperimental cinema • fluid light projection • geometric abstraction • Gordon Matta-Clark • Hans Richter • Hollis Frampton • immaterialityintangible creationsJames Turrell • Klaus Biesenbach • Laszlo Moholy-Nagylight and space • light and space movement • light artlight projectionMarcel Duchamp • Maria Nordman • materialisationmotion artsmovementmovement-image • moving through space • Museum of Modern Art • Neue Optik (New Vision) • non-narrative • objecthood • objecthood and space • optical techniques • Paul Sharits • peripatetic • Richard Serra • Robert Irving (artist) • Robert Irwin • Robert Smithson • Roxana Marcoci • solid light films • static image • structural film • VernissageTV (VTV) • Viking Eggeling

CONTRIBUTOR

Simon Perkins
01 JULY 2014

The art object does not embody a form of knowledge

"In this paper, I start from the position that the proper goal of visual arts research is visual art. An alternative position is that the art making process yields knowledge that is independent of the actual art objects produced. However, this relegates the art object to that of a by–product of the knowledge acquisition process, and, in my view, places visual art making in the service of some other discipline. Notwithstanding the fact that valuable knowledge may be acquired in this way, from my standpoint it would be undesirable for this to become the dominant mode of arts research. Therefore, from my position the most interesting proposition to explore is the claim that the art object is a form of knowledge since it locates the art object as a central and fundamental component of the knowledge acquisition process.

Nevertheless, as you will see, in this paper I argue against this proposition. I will not claim that the visual art object cannot communicate knowledge–it can. Instead, I will argue that this knowledge is typically of a superficial nature and cannot account for the deep insights that art is usually thought to endow into emotions, human nature and relationships, and our place in the World, etc. In short, I aim to demonstrate that visual art is not, nor has it ever been, primarily a form of knowledge communication; nor is it a servant of the knowledge acquisition enterprise."

(Stephen Scrivener, 2002)

Scrivener, Stephen (2002) "The art object does not embody a form of knowledge". Working Papers in Art & Design – Vol 2.

1

CONTRIBUTOR

Liam Birtles
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.