Buchloh, conceptual art.pdf - Course Materials Repository

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Zi:?iiii;.:riiiii-iiiiii:-ii-_iii'i !i~ili!!!!!!!ii!! :: :::::::: ::: :::::: ..: Mel Bochner. Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art. Installation, School of Visual Arts Gallery, December, 1966. ...... -I7 Mel Bochner, by contrast, seems to have chosen Dan Flavin as his primary figure of reference. He wrote one of the first essays on Dan Flavin (it is in fact a text-collage of accumulated quotations, all of which relate in one way or the other to Flavin's work).5 Shortly thereafter, the text-collage as a presentational mode would, indeed, become formative within Bochner's activities, for in the same year he organized what was probably the first truly conceptual exhibition (both in terms of materials being exhibited and in terms of presentational style). Entitled Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (at the School of Visual Arts in 1966), most of the Minimal artists were present along with a number of then still rather unknown Post-Minimal and Conceptual artists. Having assembled drawings, sketches, documents, tabulations, and other paraphernalia of the production process, the exhibition limited itself to presenting the "originals" in Xeroxes assembled into four looseleaf binders that were installed on pedestals in the center of the exhibition space. While one should not overestimate the importance of such features (nor should one underestimate the pragmatics of such a presentational style), Bochner's intervention clearly moved to transform both the format and space of exhibitions. As such, it indicates that the kind of transformation of exhibition space and of the devices through which art is presented that was accomplished two years 5. Mel Bochner, "Less is Less (for Dan Flavin)," Art and Artists (Summer 1966).
110 OCTOBER later by Seth Siegelaub's exhibitions and publications (e.g., The Xerox Book) had already become a common concern of the generation of post-Minimal artists. A third example of the close generational sequencing would be the fact that Joseph Kosuth seems to have chosen Donald Judd as his key figure: at least one of the early tautological neon works from the Proto-Investigations is dedicated to Donald Judd; and throughout the second part of "Art after Philosophy" (published in November, 1969), Judd's name, work, and writings are invoked with the same frequency as those of Duchamp and Reinhardt. At the end of this essay, Kosuth explicitly states: "I would hastily add to that, however, that I was certainly much more influenced by Ad Reinhardt, Duchamp via Johns and Morris, ...................................., Sol LeWitt. Wall Floor Piece (Three Squares). 1966.
Page 1 and 2: Conceptual Art 1962-1969: From the
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Page 5: 108 OCTOBER movement's self-declare
Page 9 and 10: 112 OCTOBER not more so - in his co
Page 11 and 12: Sol LeWitt. Untitled (Red Square, W
Page 13 and 14: 116 OCTOBER made as the mere displa
Page 15 and 16: 118 OCTOBER to the manifest lack of
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
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Page 37 and 38: 140 OCTOBER incidentally, which had
Page 39 and 40: 142 OCTOBER Buren, Mosset, Parmenti

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