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Dematerializing the Art Object

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May 09, 2013

Dematerializing the Art Object



May 09, 2013


  1. Dematerializa*on  of  the  Art  Object   Reading:   Ar,orms,  405-­‐406,

     413-­‐416.     Range:   c.  1965-­‐Present   Conceptual  Art,  Performance  Art,   Process  Art,  Earthworks/Land  Art     Terms/Concepts:   dematerializa*on,  Fluxus,   Happening,  pluralism,  social   sculpture,  site-­‐specific,  entropy,   commodifica*on,         Key  Monuments:     Joseph  Beuys,  How  to  Explain   Pictures  to  a  Dead  Hare,  1965.     Joseph  Kosuth,  One  and  Three   Chairs,  1965.     Jackie  Winsor,  Burnt  Piece,   1977-­‐1978.     Robert  Smithson,  Spiral  JeJy,   1970.  
  2. Reminders…   Responses  Due  TODAY   Final  Exam  Thursday  May

     16th  12:30-­‐2:30   Study  Guide  is  available  on  Blackboard!   Second  Chance:  Abstrac*on  Reac*on  Due:  TODAY  
  3. Art/Concept?    All  works  of  art  have  a   conceptual

     component.    A  component  that  is   something  other  than  its   physical/visual  form.    We  appreciate  this   “concept”  ocen  as  much   as  we  appreciate  the   physical  form.    Some  works  consist  only/ primarily  of  conceptual   components  we  call  that   “conceptual  art.”   Theodore  Gericault,  The  Rac  of  the   Medusa,  1818-­‐1819.  
  4. Conceptual  Art?   1.  self-­‐reflecOveness:  a  work  is  made  

    with  an  awareness  of  and  addresses   the  “rules”  regarding  art.       2.  irony:  a  work  uses  its  self-­‐ awareness/reflec*veness  as  a  tool   to  not  only  address  the  “rules”  but   make  fun  of  them.     3.  against  medium:  a  work  denies  the   use  of  “proper”  art  materials  (paint,   stone,  etc.)  in  favor  of  materials  that   are  indiscernible  from  the   commonplace.   4.  dematerializaOon  of  the  artwork:  a   work  is  no  longer  “created”  in  the   form  of  a  material  object  but  rather   is  exists  and  an  intangible  concept.   5.  anO-­‐aestheOc:  a  work  does  not  seek   a  pleased  reac*on  based  on  its   form.     Clement  Greenberg  
  5. Marcel  Duchamp,  Fountain,  1916.   Readymades   Readymade  was  the

     term  Marcel  Duchamp  used  to  describe  works  consis*ng  of  ligle   more  than  household  items.    Because  they  required  ligle  or  no  ar*s*c  manipula*on   the  were  “readymade.”  
  6. Marcel  Duchamp,  In   Advance  of  the   Broken  Arm,

  7. Piero  Manzoni,  ArOst’s  Shit,  1961.  

  8. Piero  Manzoni  with   ArOst’s  Shit,  1961.  

  9. Joseph  Kosuth,  One  and  Three  Chairs,  Wooden  Folding  Chair,  

    Photographic  enlargement  of  a  dic*onary  defini*on  of  chair,  and  a   photographic  copy  of  a  chair.  1965.   “[Conceptual  art  was]  the  inves*ga*on  of  the   func*on,  meaning  and  use  [of  art]”  
  10. Joseph  Kosuth,  One  and  Three  Chairs,  Wooden  Chair,  Photographic  

    enlargement  of  a  dic*onary  defini*on  of  chair,  and  a  photographic  copy   of  a  chair.  1965.  
  11. Joseph  Kosuth,  One  and  Three  Chairs,  Wooden  Chair,  Photographic  

    enlargement  of  a  dic*onary  defini*on  of  chair,  and  a  photographic  copy   of  a  chair.  1965.  
  12. Joseph  Kosuth,  One  and  Three  Chairs,  1965.   “Like  everyone

     else  I  inherited  the  idea  of  art  as  a  set  of   formal  problems.    So  when  I  began    to  re-­‐think  my  ideas  of   art,  I  had  to  re-­‐think  that  thinking  process…[T]he  radical  shic   was  in  changing  the  idea  of  art  itself…It  meant  you  could  have   an  art  work  which  was  that  idea  of  an  art  work,  and  its  formal   components  weren’t  important.    I  felt  I  had  fund  a  way  to   make  art  without  formal  components  being  confused  for  an   expressionist  composi*on.    The  expression  was  in  the  idea,   not  the  form—the  forms  were  only  a  device  in  the  service  of   the  idea.”  
  13. Joseph  Kosuth,  One  and  Three  Chairs,  1965.  

  14. David  Tudor  performing  John  Cage’s  4’33,  1952.  

  15. Allan  Kaprow,  The  Yard,  1961.   A  Happening  is  “an

     assemblage  of  events  performed  or  perceived  in   more  than  one  *me  and  place.    Its  material  environments  may  be   constructed,  taken  over  directly  from  what  is  available,  or  altered   slightly:  just  as  its  ac*vi*es  may  be  invented  or  commonplace.    A   Happening,  unlike  a  stage  play,  may  occur  at  a  supermarket,  driving   along  a  highway  under  a  pile  of  rags,  and  in  a  friend’s  kitchen,  either   at  once  or  sequen*ally,  *me  may  extend  to  more  than  a  year.    The   Happening  is  performed  according  to  plan  but  without  rehearsal,   audience,  or  repe**on.    It  is  art  but  seems  closer  to  life.”    
  16. Eric  Anderson,  Please  Leave,  May  30,  1985.  

  17. George  Maciunas,  Fluxus   Manifesto,  1963.   George   Maciunas,

      Poster  for   Fluxorchestra   at  Carnegie   Recital,   September  25,   1965.   Fluxus   (1963-­‐Today)  
  18. Robin  Page,  Merry   Christmas  ‘66,  1966.  

  19. Yoko  Ono  &  Dance   Company,  Do-­‐It-­‐ Yourself  Fluxfest,  

    February  1-­‐13,  1966.  
  20. Joseph  Beuys,  La  Rivoluzione  siamo  Noi,  1971.   “Thinking  Forms:

     how  we  mold  our  thoughts  or   Spoken  Forms:  how  we  shape  our  thoughts   into  words  or  Social  Sculpture:  how  we  mold   and  shape  the  world  in  which  we  live.”    
  21. Joseph  Beuys,  Felt  Case  Trapping  Sound,  1966.   “[They]  covered

     my  body  in  fat  to  help  it   regenerate  warmth,  and  wrapped  it  infelt  as   an  insulator  to  keep  the  warmth  in.”    
  22. Joseph  Beuys,  Homogen  InfiltraOon  for  Piano,   1966.   “That

     is  why  the  nature  of  my  sculpture  is  not  fixed  an  finished.     Processes  con*nue  in  most  of  them:    chemical  reac*ons,  fermenta*on,   color  changes,  decay,  drying  up.    Everything  in  a  state  of  change.”    
  23. Jackie  Winsor,  Bound  Piece,  1972.  

  24. Jackie  Winsor,  Double  Circle,  1972.  

  25. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  26. None
  27. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  28. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  29. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  30. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  31. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.  

  32. Jackie  Winsor,  Burnt  Piece,  1977-­‐1978.   “[Burnt  Piece]  was  planned

     so  that  structurally  the   wood  was  the  support  system  in  the  beginning  but  in   such  a  way  that  once  burned  the  cement  could  do   that.    It  was  designed  sort  of  nega*ve-­‐posi*ve  so  that   the  cement  does  exactly  what  the  wood  did…I  wanted   a  piece  about  transforma*on—to  change  from  and/or   through  one  form  of  energy  into  another.    To  include   destruc*on  as  a  part  of  comple*on  or  being  whole.”