Buchloh, conceptual art.pdf - Course Materials Repository

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ii ii?ii ii ii ii:: iiiii ? :,; . .. . ... . .... ... ....... . . ........................................ .................. : F ............. I.................. .......... Robert Morris. I-Box. 1962. 84iiiiiii-lj l .......................... 1 Omni: a, : . ..... M ::il ~iliiill- M ONli N M W ................ .................... 8esle ... W ?WWR: ~ i_:: ~ ~ ~ i ~ ~~"~~"~~ with a structural sleight of hand from the tactile (the viewer has to manipulate the box physically to see the I of the artist) through the linguistic sign (the letter I defines the shape of the framing/display device: the "door" of the box) to the visual representation (the nude photographic portrait of the artist) and back. It is of course this very tripartite division of the aesthetic signifier- its separation into object, linguistic sign, and photographic reproduction-that we will encounter in infinite variations, didactically simplified (to operate as stunning tautologies) and stylistically designed (to take the place of paintings) in Kosuth's Proto-Investigations after 1966. In Document (Statement of Aesthetic Withdrawal), Morris takes the literal negation of the visual even further, in clarifying that after Duchamp the readymade is not just a neutral analytic proposition (in the manner of an underlying statement such as "this is a work of art"). Beginning with the readymade, the work of art had become the ultimate subject of a legal definition and the result of institutional validation. In the absence of any specifically visual qualities and due
118 OCTOBER to the manifest lack of any (artistic) manual competence as a criterion of distinction, all the traditional criteria of aesthetic judgment--of taste and of connoisseurship - have been programmatically voided. The result of this is that the definition of the aesthetic becomes on the one hand a matter of linguistic convention and on the other the function of both a legal contract and an institutional discourse (a discourse of power rather than taste). This erosion works, then, not just against the hegemony of the visual, but against the possibility of any other aspect of the aesthetic experience as being autonomous and self-sufficient. That the introduction of legalistic language and an administrative style of the material presentation of the artistic object could effect such an erosion had of course been prefigured in Duchamp's practice as well. In 1944 he had hired a notary to inscribe a statement of authenticity on his 1919 L.H.O.O.Q., affirming that ". . . this is to certify that this is the original ...... ....ii~ll":l:? :i : `i-i : :: -'::;~'~~~~~~:i- i-' ilk . ... ... .. . :::_::-::?- ::-::. _: ::::-::::::::::: ..-- -. -I-I 'j~j-:-!~----:.~~~i~ ..... ::IP.............. "~-jri-t~'a~-: i~i~~ii~~tP:~~ar .- il~ii~ii: -........... :-. - ....... . 'fa . I. :i~il_- i ............... '.............: .,,il-;:_ :- -i: ?:--::-::: ii-iii ......1. 1 iffiak:: i,-iiiiiii'..... :~i-iii~~i- ~ Wlb, w . .. : -:-:::::::: ii';ili:'?-5:::;l`~::?l~~iiiiii ::-:::: -:::-:i:: i~i ii~ii--_ .. ::: :? 1:: -.._ ..:: -- ---- :-I--:I-:.......... i-: .. SrIN i :-.::. :''i:-r~k~ :::.:.: i~i~i~i~iiL-ili~-:: :.:: -:~: iiiii~l~i: :: :: ... ..:.: ?::. :: :::-:l:i;_-:?:..............?::: : .....i :-i-j ___: _ :::::_............ i: .. ... :" I:i:j::::::::i:: :-:::: ::::~:li'_:-::-_i~i-::::I-":: :o Robert Morris. Untitled (Statement of Aesthetic Withdrawal). 1963. ...... ...... .. FN
Page 1 and 2: Conceptual Art 1962-1969: From the
Page 3 and 4: 2 PIA No / AlleTro a .Juliete 3 MEF
Page 5 and 6: 108 OCTOBER movement's self-declare
Page 7 and 8: 110 OCTOBER later by Seth Siegelaub
Page 9 and 10: 112 OCTOBER not more so - in his co
Page 11 and 12: Sol LeWitt. Untitled (Red Square, W
Page 13: 116 OCTOBER made as the mere displa
Page 17 and 18: VARIOUS Asommm s ift X, ........ iL
Page 19 and 20: 122 OCTOBER Years, or, most signifi
Page 21 and 22: 124 OCTOBER By contrast, Graham's w
Page 23 and 24: 126 OCTOBER reception - the underst
Page 25 and 26: 128 OCTOBER tion types shows art "w
Page 27 and 28: 130 OCTOBER which never sets over t
Page 29 and 30: Robert Morris. Four Mirrored Cubes.
Page 31 and 32: 134 OCTOBER The diversity of these
Page 33 and 34: 136 OCTOBER Transcending the litera
Page 35 and 36: ftkw-% l ft VW v , W ? fl" Is: 1% S
Page 37 and 38: 140 OCTOBER incidentally, which had
Page 39 and 40: 142 OCTOBER Buren, Mosset, Parmenti

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