Conceptual Art and the Reception of Duchamp

Buchloh, Benjamin H. D.; Krauss, Rosalind; Alberro, Alexander; Duve, Thierry de; Buskirk, Martha; Bois, Yve-Alain

doi:10.2307/779057

Cited by 10 publications

(6 citation statements)

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“…There are affinities between conceptual art, particularly as articulated by Lippard and Chandler (1968) and Alberro (2003;Buchloh et al 1990), and bio art. Lippard and Chandler (1968) advanced the dematerialization of art.…”

Section: Framing Biotech Aestheticsmentioning

confidence: 95%

Biotech aesthetics: Exploring the practice of bio art

Byerley

Chong

2014

Culture and Organization

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Advances in biotechnology include contemporary artists working in laboratories to create living and semi-living works of art. This paper offers an account of how bio art can be read as an emerging contemporary art practice of the early twenty-first century. This draws on the art-historical precedent of Marcel Duchamp, who transformed objects from commonplace existence into works of art, and contemporary theories of art. Empirical data, in the form of interviews with leading bio art practitioners Oron Catts, Eduardo Kac, Kira O'Reilly, Stelarc and Paul Vanouse, are used to study how artists navigate between disciplines. In doing so, we discuss bio art as a critical practice based on a communal ethos.

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Section: Framing Biotech Aestheticsmentioning

confidence: 95%

Biotech aesthetics: Exploring the practice of bio art

Byerley

Chong

2014

Culture and Organization

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“…During the second half of the twentieth century, a changed notion of art via theorization of ready-mades, conceptual art, and appropriation resulted in an increased focus on art’s own institutional structures, what some have referred to as the Artworld (Danto, 1964, 1993). Art historical discourse frequently set the beginning of this trajectory with Marcel Duchamp’s work in the first decades of the twentieth century, later picked up and made more widely available by a younger generation of artists in the late 1950s and early 1960s (Buchloh et al., 1994). The genre of self-reflexive art projects carried out in full force during the 1970s and 1980s where the structure of art institutions are themselves investigated by artists, is known by the term institutional critique.…”

Section: Critique In Contemporary Art Discourse and Practicementioning

confidence: 99%

Critique and post-critique in contemporary art history: Excessive attachment to suspicion in academia and beyond

Callahan

2019

Arts and Humanities in Higher Education

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This essay offers a broad look at the way critique as a mode, method, and attitude in post-war art history research and teaching intersects with occurrences of critique in humanities scholarship and teaching generally, but also how distorted forms of critique occur in contexts outside the academic field. The essay outlines concerns raised by humanities scholars with what they consider to be an over-reliance on critique as a negative skill, resulting in scholarship that tears down without building up, and self-satisfied debunking of anything that does not stand up to the current era’s identity politics. The essay argues that the question of critique is of particular urgency to the field of contemporary art. Here critique is embedded in the material studied—artworks, artistic practices, and discourses—and therefore in dire need of being understood, challenged, and decentered as a method.

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“…The late 1950s witnessed a renewed interest in Marcel Duchamp's Dadaist gesture among visual artists and dancers (J. Meyer 2001, 97;Robinson 2005;Buchloh et al 1994). Dance and visual art in fact catalyzed each other in this richly interdisciplinary milieu, given impetus through Cage and Dada.…”

Section: The Literal and The Socialmentioning

confidence: 99%

“…Radically revising established ideas in music composition and championing “theatre,” a notion of expanded performance that he had articulated by 1961 (Joseph 2007, 59), Cage's chance procedures and indeterminacy were equally foundational for experimental music composition, visual art, and dance. The late 1950s witnessed a renewed interest in Marcel Duchamp's Dadaist gesture among visual artists and dancers (J. Meyer 2001, 97; Robinson 2005; Buchloh et al 1994). Dance and visual art in fact catalyzed each other in this richly interdisciplinary milieu, given impetus through Cage and Dada.…”

Section: The Literal and The Socialmentioning

confidence: 99%

“Minimalist” Dance, Social Critique: Revisiting Yvonne Rainer and Steve Paxton's 1963 Word Words

Morse¹

2018

Dance Res. J.

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In this essay, I reexamine Yvonne Rainer and Steve Paxton's 1963 danceWord Words, arguing that this apparently “minimalist” work in fact deployed “underground” strategies, those of female (and male) impersonation. Camp performance, an approach that Rainer soon disavowed, allowedWord Wordsto explore gender in ways that were not possible by the time Rainer developedTrio A.Word Wordsdid not simply “overwrite” Rainer's (female) gender, as has been suggested alongside similar discussions ofTrio Aand gender, but destabilized the gender system's binaries: a deeply radical move, even in the context of other Judson performances using camp.

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Conceptual Art and the Reception of Duchamp

Cited by 10 publications

References 0 publications

Biotech aesthetics: Exploring the practice of bio art

Biotech aesthetics: Exploring the practice of bio art

Critique and post-critique in contemporary art history: Excessive attachment to suspicion in academia and beyond

“Minimalist” Dance, Social Critique: Revisiting Yvonne Rainer and Steve Paxton's 1963 Word Words

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