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Product Description
Product Description
Reveals the revolution that took place when a whole generation of artists experimented with the idea of art as an idea. Shows how artists such as Robert Morris, Sol Lewitt and Marcel Broodthaers challenged traditional notions of the art object through unprecedented use of language, actions, processes and forms derived from mass media.
About the Author
Peter Osborne is Professor of Modern European Philosophy and Tutor on the Graduate Programme in Aesthetics and Art Theory at Middlesex University, London. He is the author of The Politics of Time: Modernity and the Avant-Garde (Verso, 1995) and Philosophy in Cultural Theory (Routledge, 2001). He was a contributor to Rewriting Conceptual Art (eds. Michael Newman; Jon Bird, Reaktion Books, 1999) and has edited and co-edited several critical anthologies including A Critical Sense: Interviews with Intellectuals (Routledge, 1997) and From an Aesthetic Point of View: Philosophy, Art and the Senses (Serpents Tail, 2001). Author's Residence: London
--This text refers to the
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Hardcover
This book fills in the gap created by the lack of institutional recognition - the recognition of this art movement in art institutions - allowing the reader to understand the pre-history of what constitutes contemporary art today, as post-conceptual. Hence the book is not using meaningless theoretical terms, but on the contrary the precise theoretical terms with which to give precise meaning and significance to this movement in art which followed post-war abstract expressionism, the latter otherwise still tending to overshadow the former.
Peter Grodbecki's review registers the revulsion of the popular understanding of art (as produced by the purely intuitive expression of the genius painter) against the very idea of conceptual art. This should have been corrected by an engagement with the text, which reveals how conceptual art is constituted via its negation of abstract expressionism; that is to say, against art as being an inherently visual phenomena. And once the work of art has been reduced to a concept, to an idea, the existing understanding of art according to medium(s), which now appear as forms of actualization of an idea, becomes ontologically destroyed (ontologically, because what art most fundamentally is has changed, so the change is at the level of ontology, of the ontology of art).
So this book doesn't just represent one in a series of books on themes and movements, rather it is about the most significant art movement, in terms of its mediating role, between art that came before it (post-war abstract expressionism) and that which came after it (contemporary art today, as post-conceptual), since on the one hand conceptual art failed to reduce art to a concept or idea, and yet on the other successfully challenged the existing ideology of the aesthetic, or aestheticism, and as a result fundamentally changed the form of actualization of the work of art (video, installation, documentation, essay, etc..), allowing for an infinite multiplicity of forms of actualization...
Peter Grodbecki's review registers the revulsion of the popular understanding of art (as produced by the purely intuitive expression of the genius painter) against the very idea of conceptual art. This should have been corrected by an engagement with the text, which reveals how conceptual art is constituted via its negation of abstract expressionism; that is to say, against art as being an inherently visual phenomena. And once the work of art has been reduced to a concept, to an idea, the existing understanding of art according to medium(s), which now appear as forms of actualization of an idea, becomes ontologically destroyed (ontologically, because what art most fundamentally is has changed, so the change is at the level of ontology, of the ontology of art).
So this book doesn't just represent one in a series of books on themes and movements, rather it is about the most significant art movement, in terms of its mediating role, between art that came before it (post-war abstract expressionism) and that which came after it (contemporary art today, as post-conceptual), since on the one hand conceptual art failed to reduce art to a concept or idea, and yet on the other successfully challenged the existing ideology of the aesthetic, or aestheticism, and as a result fundamentally changed the form of actualization of the work of art (video, installation, documentation, essay, etc..), allowing for an infinite multiplicity of forms of actualization...
3 of 20 people found the following review helpful
Format:Hardcover
Why do so many academics think that theoria (an inability to stop using meaningless theoretical terms) is the same as thinking. If you cant sleep this will be a very helpful (if expansive) book.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
far it goes
25 May 2011
Format:Paperback|Amazon Verified Purchase
lots of content on the subject, far it goes on theory, and to me it is essencial when it comes to cenceptual art.. good set of photos and artists selected.
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