“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized.'”–Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard’s celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.

The artworks and essays featured in this publication recall the thrill that was tangible in Lippard’s original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard’s own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.

With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard’s curatorial experiment full circle.

A tabloid style artists’ project based on notions of exchange between Huebler and fifty artists: Eleanor Antin, Cazolari, Salvo, Alighiero Boetti, Hanne Darboven, Tim Zuck, David Askevold, John Goodyear, Lawrence Weiner, Roger Mazurquil, Charles Harper, Saul Ostrow, David Blume, Les Levine, Jack Burnham, Robert MacDonald, Carolyn Kite, Braco Dimitrijevic, John Pearson, Lucy Lippard, Tadashi Maeyama, Knimsa Kuriyama, Shyoji Kaneko, Kodo Tanaqua, Toshiyuki Sunohara, Hideharu Sato, Jum Mizukami, Hiroshi Kawatsu, Yutaka Matsuzawa, Gerald Ferguson, Boezem, Stanley Brouwn, Jan Dibbets, Adriaan Van Ravesteijn, Donald Burgy, Robert Barry, Christopher Cook, Edward Ruscha, Robert Cumming, Agnes Denes, Adrian Piper, Hans Haacke, John Baldessari, Sol LeWitt, Konrad Fischer, Daniel Buren, Gilbert & George, Bernd & Hilla Becher, Jaroslaw Kozlowski, Richards Jarden.

Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for those exhibitions: 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.) 4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.

Unopened, new.

n Undermining, the award-winning author, art historian and social critic Lucy R. Lippard delivers “another trademark work” that combines text and full-color images to explore “the intersection of art, the environment, geography and politics” (Kirkus Reviews).   Working from her own experience of life in a New Mexico village, and inspired by the gravel pits in the surrounding landscape, Lippard addresses a number of fascinating themes including fracking, mining, land art, adobe buildings, ruins, Indian land rights, the Old West, tourism, photography, and water. In her meditations, she illuminates the relationship between culture, industry, and the land. From threatened Native American sacred sites to the history of uranium mining, she offers a skeptical examination of the “subterranean economy.”   Featuring more than two hundred gorgeous color images, Undermining offers a provocative new perspective on the relationship between art and place in a rapidly shifting society.

Believing that the unexamined experience is not worth having, Lippard (The Lure of the Local) is a tourist with a problem: she can’t relax. In this blend of cultural criticism and on-the-road dispatch, Lippard examines the links between tourism and exploitation. A chapter on “Tragic Tourism” investigates the attraction of “celebrity murder sites, concentration camps, massacre sites.” Her conclusions are appropriately nuanced: on the one hand, monuments “inspire secondary memories that can color or even interfere with responses to the primary event”; on the other, “remembrance is the only way to compensate the dead.” Lippard’s critical lingo is sometimes clunky, but her willingness to implicate herself in her critique makes the book accessibly personal (“I am resigned to looking like a tourist wherever I go, even at home, because I’m always rubbernecking”). This tendency lends a depth and power to her interrogation of the ways that Anglo tourism has made Santa Fe into “Santa Fake,” through the trivialization and commodification of native and hispano cultures. As Lippard admits, it was after repeated tourist visits that she decided to move to the area. But Lippard is always on guard against the placid acceptance of tourism, always aware of the ways it can be an egregious indulgence of the affluent who are transforming the world in their own image.

A powerful and evocative retrospective collection of an artist’s life.

Flaring with immediacy and unbridled intensity, David Wojnarowicz’s work embraces and illuminates the repressed, the unspeakable, and the intolerable. This collection of Wojnarowicz’s paintings, photographs, and writings also includes essays by Nan Goldin, Kiki Smith, Fran Lebowitz, and Karen Finley, among others.

Seis años de Lucy R. Lippard es una referencia obligada para cualquier persona interesada en la significación y desarrollo del arte conceptual. Estructurado año a año del crucial periodo comprendido entre 1966 y 1971, la autora recoge en sus páginas obras de arte, testimonios de artistas, entrevistas, reseñas…, que constituyen un material de primera mano absolutamente imprescindible para entender uno de los movimientos que mayor trascendencia han tenido en el devenir artístico de la segunda mitad del siglo XX.

The first issue of the Heresies, a quarterly feminist publication on art and politics. Issue edited by the First-Issue Collective: Joan Braderman, Harmony Hammond, Elizabeth Hess, Arlene Ladden, Lucy Lippard, and May Stevens. Essays “Traditional Status Values of the Village…” by Mandy Martin; “From the First-Issue Collective”; “Toward Socialist Feminism,” by Barbara Ehrenreich; “Tijuana Maid,” by Martha Rosler; “Women in the Community Mural Movement,” by Eva Cockcroft; “Women and Honor: Some Notes on Lying,” by Adrienne Rich; “Adman and Zucchini Poem,” by Elizabeth Zelvin; “Tribute to Rosa Luxemburg and Two Women,” by May Stevens; “The Art of Not Bowing: Writing by Women in Prison,” by Carol Muske; “Songs from a Free Space,” by Carole Ramer, Deborah Hiller, Gloria Jenson; “La Roquette, Women’s Prison,” by Groupe de Cinq; “Fays, Floozies and Philosophical Flaws,” by Arlene Ladden; “The Esthetics of Power in Modern Erotic Art,” by Carol Duncan; “Now Women Repossess Their Own Sexuality,” by Louise Bourgeois, Marisol, Ann Leda Shapiro, Dotty Attie, Anita Steckel, Joan Semmel; “ABCs,” by Susan Yankowitz; “Do You Think,” by Jayne Cortez; “Bomb Shitting and Torture in Chile,” by Nancy Spero; “The Empress Anastasia in New York,” by Jan Clausen; “Dead in Bloody Snow,” by Meridel Le Sueur; “Notes from the First Year,” by Susan Saxe; “Posters from the People’s Republic of China”; “Feminist Abstract Art – A Political Viewpoint,” by Harmony Hammond; “‘Females Experience in Art,’: The Impact of Women’s Art in a Work Environment,” by Ruth E. Iskin; “Death of the Patriarchy/Heresies,” by Mary Beth Edelson; “A Pink Strip,” by Amy Sillman; “The Pink Glass Swan: Upward and Downward Mobility in the Art World,” by Lucy R. Lippard; “Juggling Contradictions: Feminism, the Individual and What’s Left,” by Joan Braderman; “Posters from Australia,” by Ann Newmarch, Mandy Martin, Toni Robertson; “Moratorium: Front Lawn: 1970,” by Kate Jennings; “Puerto Rican Day Parade,” by Suellen Snyder; “Chicago Mannequin and Twins and Janet,” by Su Friedrich; “Who Are We? What Do We Want? What Do We Do?” by Accion para la Liberacion de la Mujer Peruana; “On Women’s Refusal to Celebrate Male Creativity,” by Rivolta Femminile; “What is Left?” by Assata Shakur; “Around Coming Around – A Performance,” by Marty Pottenger; “Wages for Housework: The Strategy for Women’s Liberation,” by Pat Sweeney; “Selected Bibliography on Feminism, Art and Politics”; “Still Ain’t Satisfied,” by Bonnie Lockhart.

This issue of Studio International contains a 48-page “exhibition” organized by Seth Siegelaub: “The content of the 48-page exhibition in this issue was organized by requesting six critics to each edit an 8-page section of the magazine, and in turn, to make available their section to the artist(s) that interest them. The Table of Contents lists the name of the artist(s) under the name of the critic who was responsible for their participation.” — Seth Siegelaub. Section curated by David Antin: Dan Graham, Harold Cohen, John Baldessari, Richard Serra, Eleanor Antin, Fred Lonidier, George Nicolaidis, Keith Sonnier; curated by Germano Celant: Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Mario Merz, Giuseppe Penono, Emilio Prini, Pistoletto, Gilberto Zorio; curated by Michel Claura: Daniel Buren; curated by Charles Harrison: Keith Arnatt, Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Victor Burgin, Barry Flanagan, Joseph Kosuth, John Latham, Reolof Louw; curated by Lucy R. Lippard: Robert Barry, Stephen Kaltenbach, Lawrence Weiner, On Kawara, Sol LeWitt, Douglas Huebler, N.E. Thing Co., Frederick Barthelme; curated by Hans Strelow: Jan Dibbets, and Hanne Darboven.

Exhibition catalogue published in conjunction with show held at the Fine Arts Building, New York, May 15 – May 25, 1976. Organized by Marina Urbach. Artists include Cecile Abish, Vito Acconci, Laurie Anderson, Jacki Apple, Barbara Bloom, Jonathan Borofsky, Mary Beth Edelson, Tina Girouard, Suzanne Harris, Angels Ribe, Dennis Oppenheim, Hannah Wilke, and Martha Wilson. With an interview between Roberta Bernstein and Marina Urbach. Writing by Timothy Binkley, Lucy R. Lippard, Susan Sontag. Includes conversations between many of the artists and Urbach and other artists in the exhibition. Illustrated in black-and-white.

The long-awaited publication of the personal diaries of pioneering American artist Eva Hesse

Eva Hesse (1936–1970) is known for her sculptures that made innovative use of industrial and everyday materials. Her diaries and journals, which she kept for the entirety of her life, convey her anxieties, her feelings about family and friends, her quest to be an artist, and the complexities of living in the world.
 
Hesse’s biography is well known: her family fled Nazi Germany, her mother committed suicide when Hesse was ten years old, her marriage ended in divorce, and she died at the age of thirty-four from a brain tumor. The diaries featured in this publication begin in 1955 and describe Hesse's time at Yale University, followed by a sojourn in Germany with her husband, Tom Doyle, and her return to New York and a circle of friends that included Sol LeWitt, Mel Bochner, Lucy Lippard, Robert Mangold and Sylvia Plimack Mangold, Robert Ryman, Mike Todd, and Paul Thek.  
 
Poignant, personal, and full of emotion, these diaries convey Hesse’s struggle with the quotidian while striving to become an artist.

Publication containing extracted essays by Lucy R. Lippard, Alan W. Moore, Francis Frascina, Julia Bryan-Wilson, and Andrea Fraser. Includes an interview between Hans Haacke and Dario Corbeira, reproduction of Seth Siegelaub and Robert Projansky’s “Artist’s Reserved Right Transfer and Sale Agreement,” as well as reprints of the Art Workers’ Coalition publications “Open Hearing” and “Documents 1” pilfered from Primary Information. Edited by Dario Corbeira and Daniel Patrick Rodriguez. Texts in English and Spanish.

The New York proto-punk zine that defined postconceptualism, now in a facsimile edition

Edited by Walter Robinson, Edit DeAk and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were―or would soon become―the defining voices of the era. Through hundreds of interviews, reviews, statements and projects for the page―as well as artist-focused and thematic issues on video, painting, performance and artists’ books―Art-Rite‘s sharp editorial vision and commitment to holding up the work of artists stands as a meaningful and lasting contribution to the art history of New York and beyond. All issues of Art-Rite are collected in this volume.

Artists include: Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri and Irene von Zahn.

Set of 12 index cards curated by David Askevold as part of his “Projects Class” held at Nova Scotia College of Art and Design [NSCAD] in 1969. Askevold invited international artists to submit projects for the class, some of these submissions were later transcribed for this edition. Artists include: David Askevold, Robert Barry, Mel Bochner, James Lee Byars, Jan Dibbets, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Lucy R. Lippard, N.E. Thing Co. LTD., Robert Smithson, Lawrence Weiner.

An Intriguing and Diverse Survey of Some of the Most ImportantArtists of the Century; New Affordable Format.As part of its critically-acclaimed “Themes and Movements” series, PhaidonPress is pleased to announce the new edition of THE ARTIST’S BODY, acompelling look at the artists’ use of self and body as object and subjectin their work, a movement that represents the state of contemporary art andmakes a wider comment on the human condition.Bound or beaten naked orpainted, still or spasmodic: the artist lives his or her art publicly inperformance or privately in video and photography.Amelia Jones’ surveyexamines the most significant works in the context of social history andTracey Warr’s selection of documents combines writings by artists, criticsand philosophers.Beginning with such key artists as Marcel Duchamp and Jackson Pollock, thisbook examines a selection of the most significant players who have usedtheir bodies to create their art – among them, in the 1960s CaroleeSchneemann, Rudolf Schwarzkogler, Yoko Ono; in the 1970s, Chris Burden, AnaMendieta, Vito Acconci, Marina Abramovic; up to the turn of the millennium,Matthew Barney, Mac Quinn, Tracey Emin and Mona Hatoum.In the survey, Amelia Jones, among the world experts in the field,discusses performance and body art against the background of socialhistory.She examines the breakdown of barriers between art and life,visual and sensual experience – how artists have expanded and renewed theage-old tradition of self-portraiture, moving art out of the gallery intounexpected spaces and media. Each image is accompanied by an extendedcaption. The works are organized thematically.* Painting Bodies, concerns work that shows the trace, stain or imprintof the artist’s body in response to the paint-on-canvas tradition. * Gesturing Bodies, examines artists who transform the body – its acts,its gesture – into art, gesture, behavior and situations are used in placeof art objects.* Ritualistic and Transgressive Bodies, looks at work which uses thebody to enact challenges to the social expectations of the body, often inrituals that perform a cathartic function.Mutilation and sacrifice areused to rupture personal and social homogeneity. * Body Boundaries, examines boundaries between the individual body andthe social environment and between the inside and outside of the bodyitself. * Performing Identity, looks at issues of representation and identity. * Absent Bodies, explores absence and the mortality of the body throughphotography, casting, imprints or remnants of the body.* In Extended and Prosthetic Bodies, the body is extended throughprosthetics or technology, to explore cyberspace and alternative states ofconsciousness.Parallel to the illustrated works of art, this section combines texts bycritics who shaped the movement, from Lucy R. Lippard to Thomas McEvilley. Alongside these writings by philosophers and thinkers such as GeorgeBataille and Gilles Deleuze who have contributed on a theoretical level tothe discussion around the body – a prevalent theme in twentieth-centurycultural theory.THE ARTIST’S BODY is a powerful and poignant look at an increasinglysignificant movement and art form.This book is an essential referencethat examines some of the most cutting edge and innovative artists of ourtime.This new affordable edition is perfect for students of theater andart as well as anyone with an interest in contemporary art.

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