Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. The anthology introduces and develops the idea that Conceptual art generated several different, and even contradictory, forms of art practice. Whereas some of these art modes contested commonplace assumptions of what art is, others served to buttress those beliefs. The bulk of the volume features newly written and highly innovative essays challenging standard historicizations of the legacy of Conceptualism, as well as the critical impact of these art practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between Conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, Conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of Conceptual art, and Conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after Conceptual art. The present volume aims to trigger an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.
The Generali Foundation Collection Series introduces important themes from this collection of contemporary art, without dealing explicitly with the collected artworks. Instead, it explores those discourses that have been crucial for the formation of art practices central to theGenerali Foundation Collection. Furthermore, it makes visible their social, historical, and theoretical contexts, and the relevant shifts and disruptions within them.
Distributed for the Generali Foundation, Vienna
Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. The anthology introduces and develops the idea that Conceptual art generated several different, and even contradictory, forms of art practice. Whereas some of these art modes contested commonplace assumptions of what art is, others served to buttress those beliefs. The bulk of the volume features newly written and highly innovative essays challenging standard historicizations of the legacy of Conceptualism, as well as the critical impact of these art practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between Conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, Conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of Conceptual art, and Conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after Conceptual art. The present volume aims to trigger an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.
The Generali Foundation Collection Series introduces important themes from this collection of contemporary art, without dealing explicitly with the collected artworks. Instead, it explores those discourses that have been crucial for the formation of art practices central to theGenerali Foundation Collection. Furthermore, it makes visible their social, historical, and theoretical contexts, and the relevant shifts and disruptions within them.
Distributed for the Generali Foundation, Vienna
Alexander Alberro is Virginia Bloedel Wright Professor of Art
History at Barnard College. He is the author of Conceptual Art and
the Politics of Publicity and the coeditor of Conceptual Art- A
Critical Anthology, both published by The MIT Press.
Sabeth Buchmann, an art historian and critic, is Professor of
Modern and Postmodern Art and Head of the Institute for Art Theory
and Cultural Studies at the Academy of Fine Arts Vienna.
Alexander Alberro is Virginia Bloedel Wright Professor of Art
History at Barnard College. He is the author of Conceptual Art and
the Politics of Publicity and the coeditor of Conceptual Art- A
Critical Anthology, both published by The MIT Press.
Benjamin H. D. Buchloh is Andrew W. Mellon Professor of Modern Art
in the Department of History of Art and Architecture at Harvard
University and an editor of October magazine. He is the author of
Neo-Avantgarde and Culture Industry- Essays on European and
American Art from 1955 to 1975 (MIT Press) and other books.
Helen Molesworth is Chief Curator at the Institute for Contemporary
Art, Boston. She edited Louise Lawler's Twice Untitled and Other
Pictures (looking back), published by the Wexner Center for the
Arts and distributed by the MIT Press.
Isabelle Graw (Frankfurt am Main/Berlin) is Professor of Art Theory
and Art History at the Staatliche Hochschule f r bildende K nste-St
delschule, Frankfurt am Main. In 1990 Graw and Stefan Germer
founded the quarterly magazine Texte zur Kunst. In 2003, Graw and
Daniel Birnbaum founded the Institut f r Kunstkritik at the St
delschule.
Sabeth Buchmann, an art historian and critic, is Professor of
Modern and Postmodern Art and Head of the Institute for Art Theory
and Cultural Studies at the Academy of Fine Arts Vienna.
The pointed differences of opinion and radical departures from
established theory considered here instead offer a fresh
perspective on the implication of working in a conceptual mode in
the global arena of the 21st century. This is an important prompt
to a developing discussion.
*Canadian Art*
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