modern / today’s normative conceptualism, distinct from 20th century conceptual movement
“ the “asif” approach, where the Conceptual work cloaks itself in other disciplines (philosophy being the most notorious example), provoking an oscillation between skilled and de-skilled, authority and pretense, style and strategy, art and not-art”
Sarat Maharaj
duchamp/rotorelief/ evading the system
[conceptual work] ‘must depend on a record of its intervention into the world, and this documentation is what is recouped as art, short-circuiting the original intent.'
Suspicion of the archive/ high art/ institution
Printed page as a medium
Robert Smithson, Mel Bochner, Dan Graham, Joseph Kosuth, Lawrence Weiner, Stephen Kaltenbach, and Adrian Piper, and there have been historical watersheds like Seth Siegelaub and John Wendler’s 1968 show Xeroxbook
Classic conceptualism as the elitist art form - required a visual literacy
“ the code of hermeneutics: “Where we have spoken openly we have actually said nothing. But where we have written something in code and in pictures, we have concealed the truth…”
Artist as critic/ essays by artists about art. Kosuth. Jeff wall. Etc
Art hinged on distribution - public art
Must be free to view/of charge
Must be accessible in shared public space
collective experience is now based on simultaneous private experiences
Public Sphere and Experience, Oscar Negt and Alexander Kluge
Obligation to view work vs. art experience coming from second-hand criticism/ consumption
*daniel pearl video
Internet as a medium/ internet as a mass archive - comprehensive knowledge
Ubu.com
‘the capacity for remembering, which Kluge sees as crucial in opposing “the assault of the present on the rest of time,”