Conceptual Art : Theory, Myth and Practice

Abstract

Introduction: 'An Invisible College in an Anglo-American World' Part I. Artists, Object, Spectator: 1. The formalist connection and originary myths of Conceptual art Frances Colpitt 2. Content, context and conceptual art: Dan Graham's Schema Alex Aberro 3. 'Almost not photography' Melanie Marino 4. Soft talk/soft tape: the early collaborations of Ian Burn and Mel Ramsden Ann Stephen Part II. Display: 5. The second degree: working drawings and other visible things on paper not necessarily meant to be viewed as art James Meyer 6. When Attitudes become Form and the contest over Conceptual art's history Alison Green 7. Understanding Information Ken Allan 8. 'The rotting sack of humanism': Robert Morris and authorship Richard J. Williams Part III. Recoding Information, Knowledge, and Technology: 9. Affluence, taste and the brokering of knowledge: notes on the social context of early conceptual art Robert Hobbs 10. Hanne Darboven: seriality and the time of solitude Briony Fer 11. Art in the information age: technology and Conceptual art Edward A. Shanken 12. The crux of conceptualism: Conceptual art, the Idea of idea and the information paradigm Johanna Drucker Part IV. The Limit of the Social: 13. Conceptual work and conceptual waste Blake Stimson 14. Conceptual art and imageless truth John Roberts 15. New York discusses its social relations in 'The lumpen Headache' Chris Gilbert 16. Ian Burn's conceptualism Adrian Piper.

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