notes on lucy lippard

Six Years: Dematerialization of the Art Object from 1966-1972

  • the 1960s liberation movements exploded “heroic, patriarchal mythologies”; conceptual artists were “unfettered by object status”
  • conceptual art┬ácenters the idea, uses cheap and ephemeral materials
  • Conceptual art: “acceptively open-ended” vs. Minimal art: “rejectively self-contained”
  • lippard worked in multiple mediums: writer, translator, curator
    • felt┬álimitations of the genre of art criticism
    • “writer-collaborator with the artists”
  • 1968, Art International, ultra-conceptual art emerging in two directions internationally: art as an idea and art as an action
  • bypass traditional art dealer/gallery situation by having shows outside of galleries, united by publications that were art, not just about art
  • discussion of how semiotics academicized Conceptual works; they were “political but not populist”

To try:

  • faked and publicized a press release to a Whitney show describing demographics of who would be included, then projected work on the side of the museum, ultimately pressuring the Whitney to change who they invited to participate
  • “parasite” magazine in a “host” magazine with shared curatorial responsibilities, i.e. each contributor fills 8 pages however they want; periodicals as the art themselves.

To look up:

  • Museum of Normal Art
  • Rosario Group (Argentina)
  • Art Workers Coalition
  • Luis Camnitzer

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