[단행본] Conceptual art : a critical anthology

국문 초록 (Abstract)

본 자료는 최종결과물(결과보고서)의 원자료이다.

본 연구는 ‘1989년 이후 현대미술’의 담론의 전개양상(I): 개념미술과 비판적 전환 과정을 밝히고자 하였다. 이를 위하여 어떻게 개념미술이 1960년대 이래 미술의 비판적 전환을 가져오는데 결정적이었는지를 분석하였는데, 이 자료는 알베로의 시각을 빌려 1966년부터 1989년 이후까지 현대미술에 개념미술이 미친 영향을 살펴보는 데에 사용된 자료이다.

다국어 초록 (Multilingual Abstract)

CONTENTS
ILLUSTRATIONS = xii
PREFACE = xiv
Alexander Alberro, Reconsidering Conceptual Art, 1966-1977 = xvi
Blake Stimson, The Promise of Conceptual Art = xxxviii
Ⅰ 1966-1967
Eduardo Costa, Ra$$\acute u$$l Escari, Roberto Jacoby, A Media Art(Manifesto) = 2
Christine Kozlov, Compositions for Audio Structures = 6
H$$\acute e$$llo Oiticica, Position and Program = 8
Sol LeWitt, Paragraphs on Conceptual Art = 12
Sigmund Bode, Excerpt from Placement as Language(1928) = 18
Mel Bochner, The Serial Attitude = 22
Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement = 28
Michel Claura, Buren, Mosset, Toroni or Anybody = 30
Michael Baldwin, Remarks on Air-Conditioning : An Extravaganza of Blandness = 32
Adrian Piper, A Defense of the "Conceptual" Process in Art = 36
H$$\acute e$$llo Oiticica, General Scheme of the New Objectivity = 40
Ⅱ 1968
Lucy R. Lippard and John Chandler, The Dematerialization of Art = 46
Terry Atkinson, Concerning the Article "The Dematerialization of Art" = 52
Yvonne Rainer, Statement = 60
Hanne Darboven, Statement to Lucy Lippard = 62
Georges Boudaille, Interview with Daniel Buren : Art Is No Longer Justifiable or Setting the Record Straight = 66
Mar$$\acute i$$a Teresa Gramuglio and Nicol$$\acute a$$s Rosa, Tucum$$\acute a$$n Burns = 76
Ⅲ 1969
Michel Claura, Paris Commentary = 82
Gregory Battcock, Painting Is Obsolete = 88
Dan Graham, Art Workers' Coalition Open Hearing Presentation = 92
Editors of Art-Language, Introduction = 98
Sol LeWitt, Sentences on Conceptual Art = 106
Ian Burn, Dialogue = 110
Lee Lozano, Dialogue Piece = 112
Mierle Laderman Ukeles, Maintenance Art Manifesto, Proposal for an Exhibition, "CARE" = 122
John Murphy, Patron's Statement for "When Attitudes Become Form" = 126
Piero Gilardi, Politics and the Avant-Garde = 128
Jean Clay, Art Tamed and Wild = 136
Rolf Wedewer, Introduction to Konzeption／Conception = 142
Daniel Buren, Beware = 144
Joseph Kosuth, Art After Philosophy = 158
Lucy R. Lippard, Introduction to 557,087 = 178
Ⅳ 1970
Ian Burn, Conceptual Art as Art = 188
Mel Bochner, Excerpts from Speculation(1967-1970) = 192
Charles Harrison and Seth Siegelaub, On Exhibitions and the World at Large = 198
Charles Harrison, Notes Towards Art Work = 204
Athena Tacha Spear, Introduction to Art in the Mind = 210
Kynaston McShine, Introduction to Information = 212
Jack Burnham, Alice's Head : Reflections on Conceptual Art = 216
Harold Rosenberg, De-aestheticization = 220
Luis Camnitzer, Contemporary Colonial Art = 224
Cildo Meireles, Insertions in Ideological Circuits = 232
Ⅴ 1971-1974
Michel Claura, Interview with Lawrence Weiner = 236
Jeanne Siegel, An Interview with Hans Haacke = 242
Victor Burgin, Rules of Thumb = 248
Terry Smith, Propositions = 258
Catherine Millet, Interview with Art-Language = 262
Max Kozloff, The Trouble with Art-as-Idea = 268
Robert Smithson, Cultural Confinement = 280
Robert Smithson, Production for Production's Sake = 284
Michel Claura and Seth Siegelaub, L'art conceptuel = 286
Lucy R. Lippard, Postface, in Six Years : The Dematerialization of the Art Object, 1966 to 1972 = 294
Adrian Piper, In Support of Meta-Art = 298
Hans Haacke, All the "Art" That's Fit to Show = 302
Ⅵ 1975-1977
Sarah Charlesworth, A Declaration of Dependence = 308
Ian Burn, The Art Market : Affluence and Degradation = 320
Joseph Kosuth, 1975 = 334
Art & Language, UK, Having-Your-Heart-in-the-Right-Place-Is-Not-Making-History = 350
Art & Language, UK, The Timeless Lumpenness of Radical Cultural Life = 354
Marcel Broodthaers, To Be bien pensant... or Not to Be. To Be Blind = 358
Allan Sekula, Documentary and Corporate Violence = 360
Martha Rosler, To Argue for a Video of Representation. To Argue for a Video Against the Mythology of Everyday Life = 366
Mary Kelly, Notes on Reading the Post-Partum Document = 370
Benjamin H. D. Buchloh, Moments of History in the Work of Dan Graham = 376
Ⅶ Memoirs of Conceptual Art
Ian Burn, The 'Sixties : Crisis and Aftermath (or the Memoirs of an Ex-Conceptual Artist) = 392
Cildo Meireles, Statements = 410
Ian Wilson, Conceptual Art = 414
Dan Graham, My Works for Magazine Pages : "A History of Conceptual Art" = 418
Adrian Piper, On Conceptual Art = 424
Robert Barry, Statement = 426
Victor Burgin, Yes, Difference Again : What History Plays the First Time Around as Tragedy, It Repeats as Farce = 428
Deke Dusinberre, Seth Siegelaub, Daniel Buren, and Michel Claura, Working with Shadows, Working with Words = 432
Art & Language, We Aimed to Be Amateurs = 442
Mary Kelly and Terry Smith, A Conversation About Conceptual Art, Subjectivity and the Post-Partum Document = 450
Joseph Kosuth, Intention(s) = 460
Michael Corris, Inside a New York Art Gang : Selected Documents of Art & Language, New York = 470
Martha Rosler, Statement = 486
Blake Stimson, "Dada - Situationism／Tupamaros - Conceptualism" : An Interview with Luis Camnitzer = 492
Ⅷ Critical Histories of Conceptual Art
Jeff Wall, Dan Graham's Kammerspiel = 504
Benjamin H. D. Buchloh, Conceptual Art 1962-1969 : From the Aesthetic of Administration to the Critique of Institutions = 514
Charles Harrison, Conceptual Art and Critical Judgement = 538
Adrian Piper, The Logic of Modernism = 546
Mari Carmen Ram$$\acute i$$rez, Blueprint Circuits : Conceptual Art and Politics in Latin America = 550
Thomas Crow, Unwritten Histories of Conceptual Art = 564


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