Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
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BENJAMIN<br />
H. D. BUCHLOH<br />
Conceptual Art 1962-1969: From<br />
the Aesthetic of Administration<br />
to the Critique of Institutions*<br />
This monster called beauty is not eternal. We know that our breath had no<br />
beginning and will never stop, but we can, above all, conceive of the world's<br />
creation and its end.<br />
- Apollinaire, Les peintres cubistes<br />
Allergic to any relapse into magic, <strong>art</strong> is p<strong>art</strong> and parcel of the disenchantment<br />
of the world, to use Max Weber's term. It is inextricably intertwined<br />
with rationalization. What means and productive methods <strong>art</strong> has at its<br />
disposal are all derived from this nexus.<br />
-Theodor Adorno<br />
A twenty-year distance separates us from the historical moment of Conceptual<br />
Art. It is a distance that both allows and obliges us to contemplate the<br />
movement's history in a broader perspective than that of the convictions held<br />
during the decade of its emergence and operation (roughly from 1965 to its<br />
temporary disappearance in 1975). For to historicize Conceptual Art requires,<br />
first of all, a clarification of the wide range of often conflicting positions and the<br />
mutually exclusive types of investigation that were generated during this period.<br />
But beyond that there are broader problems of method and of "interest."<br />
For at this juncture, any historicization has to consider what type of questions an<br />
<strong>art</strong>-historical approach - traditionally based on the study of visual objects - can<br />
legitimately pose or hope to answer in the context of <strong>art</strong>istic practices that<br />
explicitly insisted on being addressed outside of the parameters of the production<br />
of formally ordered, perceptual objects, and certainly outside of those of <strong>art</strong><br />
history and criticism. And, further, such an historicization must also address the<br />
* An earlier version of this essay was published in L'<strong>art</strong> conceptuel: une perspective (Paris: Mus&e<br />
d'<strong>art</strong> moderne de la Ville de Paris, 1989).