Alexander Alberro
Auteur de Conceptual Art: A Critical Anthology
Œuvres de Alexander Alberro
Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub,… (2001) 31 exemplaires
Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth-Century Latin American Art (2017) 10 exemplaires
Institutional Critique and After (Soccas Symposia) 3 exemplaires
Conceptual Art 2 exemplaires
Wifredo Lam The Imagination at Work 2 exemplaires
Life Models 1 exemplaire
Awangarda w bloku = Avant-garde in the Bloc 1 exemplaire
Oeuvres associées
Two-Way Mirror Power: Selected Writings by Dan Graham on His Art (1999) — Directeur de publication — 21 exemplaires
Étiqueté
Partage des connaissances
Membres
Critiques
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Auteurs associés
Statistiques
- Œuvres
- 25
- Aussi par
- 1
- Membres
- 348
- Popularité
- #68,679
- Évaluation
- 3.6
- Critiques
- 10
- ISBN
- 34
- Langues
- 2
Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising.
Smartly written critical book that well documents aspects of conceptual art. "Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making 'something from nothing' and his tactful business practices, particularly in marketing and advertising. Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts." -- publisher's statement.
references
No. 182 in "The Book on Books on Artists' Books" by Arnaud Desjardin. London, England : The Everyday Press, 2011, pp. 99.
Alberro draws on close readings of artworks produced by key conceptual artists in the mid- to late 1960s. He places the movement in the social context of the rebellion against existing cultural institutions, as well as the increased commercialization and globalization of the art world. The book ends with a discussion of one of Siegelaub's most material and least ephemeral contributions, the Artist's Reserved Rights Transfer and Sale Agreement, which he wrote between 1969 and 1971. Designed to limit the inordinate control of collectors, galleries, and museums by increasing the artist's rights, the Agreement unwittingly codified the overlap between capitalism and the arts.… (plus d'informations)