BUCHLOH CONCEPTUAL ART PDF

Apr 23, (pp4) “Because the proposal inherent in Conceptual Art was to replace the object of spatial and perceptual experience by linguistic definition. Conceptual Art From the Aesthetic of Administration to the Critique Type: Article; Author(s): Benjamin H. D. Buchloh; Date: ; Volume: 55; Page. Buchloh, conceptual – Course Materials Read more about conceptual, aesthetic, artistic, visual, artists and kosuth.

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The heated gesture skyrocketed Weiner on a trajectory that landed him a key role in the conceptual art movement in the s, when his work largely involved writing about hypothetical projects without actually making them, allowing his work to exist solely in the minds of his viewers.

The artist may construct the piece. The piece may be fabricated. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests within the receiver upon the occasion of receivership.

Notes on Institutional Critique

In the decades that followed, Weiner produced sculptures, films, artist books, and even CDs. I was always puzzled by your insistence conceptuaal you executed Cratering Piece as early as Thinking in terms of historical context and frameworks, of models and paradigms, it seems almost impossible to imagine that anybody in could have gone out in the desert and would have set off a series of small TNT explosions declaring them to be a sculpture aft you did in that work.

It was not in the desert; it was a national park. I wish I were as radical and revolutionary as historians would like to make out, ary I was an eighteen year-old kid. Here I was, reasonably intelligent, with an enormous knowledge of what was going on, I must say. There were artists performing all over the place, doing happenings, performancesother things. My deciding to make sculpture by blowing holes in the ground, yes, in the light of my history, it is a big deal.

In fonceptual light of what the hell was going on, it was just another artist out there, doing another sculpture park thing, using explosives, using performances, using tons of steel. This was all normal.

I had gotten to California by hitchhiking my way across the country, building structures, and constructing things everywhere I went, leaving them on the sides of the road.

The Johnnie Appleseed idea of art was perfect for me: Johnnie Nuchloh spread apple seeds across the United States by just going out on the road and spreading apple seeds.

Notes on Institutional Critique

I conceeptual not know if this is true, but I would love it to be. The next phase of your work was the early paintingsparticularly the Series of Propeller Paintings ? I was making the strangest kind of paintings. It left me a little bit more freedom to function as I wanted to. I had gone to Europe intrying to collate where I arf going to stand, whether I was going to do this or do that.

A lot of things led up to these paintings. I began to understand things arh were being discussed in the context of the painting of emblems. I had an old television set which only had one channel, with signals that I watched all night. That became my modus operandi. I began to make these paintings, all in different sizes and all in different shapes and all at the same price.

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As if that really mattered, but I thought it did at the time. And you used commercial enamel paint for all of them, like Frank Stella did at the time? Silver paint, aluminum paint, sculpmetal, commercial enamels, crap I found out on the street, paint that I invented myself. I conceltual using all the things that people use to make paintings.

You can spray it, stripe it. Name me all the painting conventions you can arf of. All the things your parents ever taught you. These paintings then led to the cut-out sculptures from and they led to this other stuff, the notched paintings. They are paintings that can lie on the table. Some of them are made out of wood. So these paintings were really reliefs and objects and that is where conceprual traditional categories break down? Those categories just completely collapsed on me.

I wanted them to collapse but I was not going to hasten their collapse. I was going to follow it through and I followed it through to where it collapsed.

The bridge no longer supported me. Got me across the water to here. I am a happy immigrant. I thought they were bucjloh fabulous.

Conceptualism and Abjection

What about Robert Ryman; were you aware of him? He appears to have been such an isolated figure. People seem to dismiss Ryman as somebody who was inarticulate and not reading the same books as everybody else. Bob Ryman had a studio on the Bowery.

He was a great person for me to go to talk to. I dropped by every once in a while and he was a very friendly man.

Did you not think of Ryman as somebody who was important in deconstructing the conventions of painting? In adding to painting: But at that time he did not have that kind of success.

It took me a long time to be able to make a living as well. Obviously there are many trajectories in your work, but one of them is painting, and the dialogue with Jackson Pollock.

But it is a dialogue mediated through looking at Jasper Johns and Cy Twombly and these two positions had already transformed painting when you started.

I would like to talk about the relationship of language to painting. Language re-emerges in the painting of the s in the work of two very different but closely related artists—Johns and Twombly—and I think they were both important in that sense for you.

This critique of modernist visuality and then simultaneous critique of representation and narrative become two central strategies of your work. The Leo Steinberg article probably made me realize where Johns stood in my existence: He was perhaps the coolest of all of them.

He figured out that his life had more value than his place within society. Kline was not interested in that. Pollock—God knows what he was interested in. I have always considered Twombly a beautiful painter. I thought that his work was absolutely exquisite: This was class, without placing it within the context of modern art, without making it look important, but making it the way it was supposed to look.

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That is what made Ryman also such a fabulous painter for me: Jasper Johns was doing that too. He did not ask me to be transcendental … he did not have to tell me that his found objects were a bridge. I think that Rauschenberg in the end will turn out to be a far more important artist, because Rauschenberg did prat-falls, he took chances; Johns never took a risk in his life.

I did not have that advantage of a middle-class perspective. Art was something else; art was the notations on the wall, or art was the messages left by other people. I grew up in a city where I had read the walls; I still read the walls. I love to put work of mine out on the walls and let people read it.

Some will remember it and then somebody else comes along and puts something else over it. It becomes archaeology rather than history.

After you moved away from painting, you made work that looked as though it was closely related to minimal sculpture. I worked damn hard on this too. I mean, we are of our times as we are trying to find out who we are. So between and you redefine the painterly or sculptural object, its material structure, and its production process. From that moment onwards, you introduce a totally different set of terms for thinking about sculpture and I think its ramifications are hardly understood up to this very day.

Rather than considering the conflicting genres of sculptural production eg. The audience is a hairy problem, but I must say I disagree. This has more to do with my politics than my aesthetics. There seems to be a peculiar contradiction: Thus you have dismantled the traditional preoccupation with sculpture as an artisanal practice and a material production, as a process of modeling, carving, cutting, and producing objects in the world.

If you can just walk away from Aristotelian thinking, my introduction of language as another sculptural material does not in fact require the negational displacement of other practices within the use of sculpture. But why would it even have to be discussed in terms of sculpture, rather than in terms of a qualitatively different project altogether?

What would I call it? I was working with mass, I was working with all of the processes of taking out and putting in.

This is all a problem of designation. I also realized that I was dealing with very generalized structures in an extremely formalized one. These structures seemed to be of interest not only to me but to other artists at the time. I do not think that they were taken with the idea that it was language, but we were all talking about the ideas generated by placing a sculpture in the world.

Therefore I did not think I was doing anything different from bucjloh putting fourteen tons of steel out. I said it was possible that I would build it if they wanted, I said it was possible to have somebody else build it, and then I finally realized that it was possible just to leave it in language.