Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
:::i-;:::::: f :::-: 1<br />
*? rl~~:-~B~J~FF~" ":<br />
~:;iiiiiriii'i-ii<br />
:::::::::_-<br />
~iii~i~ i-,:iii-<br />
:::::-_ ::;<br />
-:?~ : .-. ir-i~:-l~ :-::: ' : : : ::~-:~:<br />
iiijii:i<br />
-:::-:~' : * I~:~:::: ::'::<br />
a a a<br />
::: :::: ::::-:<br />
ii ii<br />
::? : ::: :::: ::-::i:-<br />
:: :: :i<br />
:; :<br />
i:<br />
:ip?<br />
"'rd<br />
:: . e ~clm<br />
" B~<br />
:.:: :<br />
I;wL~ iD??:::<br />
::::.f:<br />
I ~Pa~ -: O<br />
---:~ : .: :. ::-: . . : :: : : ::<br />
--::::::::i:~:<br />
: : : ::E : : :: : :::: : -::?:-:::: :: ff:<br />
:::::<br />
: :::::<br />
: :<br />
:::::iii_? -<br />
:1::i.-:-:::: :::::::::::-_;"Y)~ilrr~_:::::_:_::l-i::.<br />
*<br />
:::_:--::::::;:<br />
I:::: :: ,ii::i: ..<br />
::<br />
- :::: :: :<br />
?ii:iiiiiiili<br />
:-:::?-:::::~:?:i_:l:<br />
i?:i-':'-:-::: :::: -::: 'i::_i<br />
:?::_-:?:i:ii<br />
'~:::<br />
.::..:.: ::.-. ?:?iii~-;il-ii-: ~:iii C:~:ir:: :<br />
~:::: ~;a?i ?:::::-:i ii::i -li<br />
::.: :::::?::: i:-:::--:: ""._Bb;l iwi<br />
:i:i:::il.?I:?-:::::<br />
:i-i:I::: :..:.:---..,<br />
:i Li*si~::-~ ~90;' : 1:<br />
*I!<br />
Biiililiiiiiii'ii'iiIiii?<br />
?:: :: :?i:i,<br />
i::<br />
:I:I::.:.:?:::<br />
:<br />
::::<br />
:4<br />
: ::: :: :::?:::':: : ? : "<br />
:.::.'::'"<br />
:::_--:i:::-: :~:;:::1;XI:-'::6::li:::::i:.-~:<br />
i:::-:::<br />
_:;ilir'g-_i:i:9:r:--:~:?i:::::<br />
::::: :::::: :_:: ::-._r~?:--":-"-_<br />
E:: ::: :: :<br />
~i- i-:i;ii::::iiiiiii?i~rlii::i;~iiii-i-:-<br />
_ii? :: iiii"';~i.:?:i::Eiiii' i:; 'iiiiiii-i~ i:;i ::i,;l:i_, ;ii;::i;:;i.-- :. :. : .<br />
[ii:iF ::::::::-__ :::::::<br />
:.:<br />
iuD?_~<br />
r-:-??i<br />
::?,,ii-iiiii:::'iiiiiiii~~-:::l?-iii::<br />
:? ::?;::?:::::??::::-:i::<br />
:: i:- :' :: ':::::': :-:: :': :::: :':' ::::-:::':-:':";:':':<br />
':':' ''':':'<br />
_i:i::::::?iiiiii:-:?:::~:":ii<br />
:::<br />
: : : :?: : ::: -:? : ::' :'.-...:. i:<br />
~:::::-_::ii::ii: :iiii:--_i:i::-~: .:,ii?-ii-ii-iii~c'<br />
?::::-:::::1:;:::: ii'iii:ii:l-i'iii:'i":iii~-iia~~i:il<br />
~::ii.:':,:i<br />
L.- i:i-:. ii;iiili.iiiiiiij:ijij::<br />
::::: i:i-::;iiiiiiiii:iji:-:i:i_-::<br />
:i:i-jiiji:ii:i:i:ii:i: i-:::i-i:jj:i:<br />
i~~"'~'2~8~88~8P~P~~B~L~$~g~ia~<br />
. :_:_-::::?:::<br />
::::-: r_<br />
::-<br />
-<br />
?<br />
:.<br />
:::::::;:"":<br />
::: :<br />
~-i~:i<br />
::::::'-::- ::::'::-':-<br />
: :-:::-i<br />
I::_:/::_::.: .:: :<br />
- -:-::'-'-:'-::: .-- :-- :?:'::-:-:i:-:-_?- :.: :: ,:,--i-j: :-::i:::: :_:~:j<br />
^ ?i:-': iiiiii<br />
ri~P--.-:inei?.~:82?I~?i?;i<br />
~sLiL-~?i F;i:::::::.:i- :~:i~ ~:iiii::i:i-Zii~ ~:_:-::::: ii<br />
::-: ::1::i::i :;:;::-?:::::::: :::-:j:,:::::-::: ::-:::~:::-_:<br />
::-:i-i-i:.i . .: i:_::S:-:-::::i:i:i i i-ii::::::':'I' :':"~~ji~:<br />
:i:?::.:::----:ii::::ii::-:-:?i<br />
-.i::ii;~;;-aiiiiiii:ii:-?:l:ii?:i::_::: :::.<br />
?- --i_-_:~<br />
in format and production, was as removed from the tradition of the <strong>art</strong>ist's book<br />
as its iconography was opposed to every aspect of the official American <strong>art</strong> of the<br />
1950s and early '60s: the legacy of Abstract Expressionism and Color Field<br />
painting. The book was, however, not so alien to the <strong>art</strong>istic thought of the<br />
emerging generation, if one remembers that the year before an unknown <strong>art</strong>ist<br />
from New York by the name of Andy Warhol had exhibited a serial arrangement<br />
of thirty-two stenciled paintings depicting Campbell Soup cans arranged like<br />
objects on shelves in the Ferus Gallery. While both Warhol and Ruscha accepted<br />
a notion of public experience that was inescapably contained in the conditions of<br />
consumption, both <strong>art</strong>ists altered the mode of production as well as the form of<br />
distribution of their work such that a different public was potentially addressed.<br />
Ruscha's vernacular iconography evolved to the same extent as Warhol's<br />
had from the Duchamp and Cage legacy of an aesthetic of "indifference," and<br />
from the commitment to an antihierarchical organization of a universally valid<br />
facticity, operating as total affirmation. Indeed, random sampling and aleatory<br />
choice from an infinity of possible objects (Ruscha's Twenty-Six Gasoline Stations,<br />
Warhol's Thirteen Most Wanted Men) would soon become essential strategies of<br />
the aesthetic of Conceptual Art: one thinks of Alighiero Boetti's The Thousand<br />
Longest Rivers, of Robert Barry's One Billion Dots, of On Kawara's One Million