Conceptual Art: Theory, Myth, & Practice (2004)

Introduction: “An Invisible College in an Anglo-American World”

Part I. Artist, Object, Spectator

Introductory note by the editor

  1. Frances Colpitt (University of Texas at San Antonio): The Formalist Connection and Originary Myths of Conceptual Art
  2. Alex Alberro (University of Florida): Content, Context and Conceptual Art: Dan Graham’s Schema (March 1966)
  3. Melanie Mariño (Cornell University): “Almost Not Photography”
  4. Ann Stephen (Powerhouse Museum): Soft Talk/Soft Tape: The Early Collaborations of Ian Burn and Mel Ramsden

Part II. Display

Introductory note by the editor

  1. James Meyer (Emory University): The Second Degree: Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art [Reprinted by permission of the author from Richard Field, ed. Mel Bochner: Thought Made Visible 1966-1973 (New Haven, CT: Yale University Art Gallery, 1995): 95-106]
  2. Alison Green (Oxford Brookes University): When Attitudes Become Form and the Contest over Conceptual Art’s History
  3. Ken Allan (University of Ontario): Understanding Information
  4. Richard J. Williams (University of Edinburgh): “The Rotting Sack of Humanism”: Robert Morris and Authorship

Part III. Recoding Information, Knowledge, and Technology

Introductory note by the editor

  1. Robert Hobbs (Virginia Commonwealth University): Affluence, Taste, and the Brokering of Knowledge: Notes on the Social Context of Early Conceptual Art
  2. Briony Fer (University College London): Hanne Darboven: Seriality and the Time of Solitude
  3. Edward A. Shanken (Duke University): Art in the Information Age: Technology and Conceptual Art
  4. Johanna Drucker (University of Virginia): The Crux of Conceptualism: Conceptual art, the Idea of Idea,and the Information Paradigm

Part IV. The Limit of the Social

Introductory note by the editor

  1. Blake Stimson (University of California, Davis): Conceptual Work and Conceptual Waste
  2. John Roberts (Wolverhampton University): Conceptual Art and Imageless Truth
  3. Chris Gilbert (Des Moines Art Center): Art & Language, New York Discusses Its Social Relations in “The Lumpen Headache”
  4. Adrian Piper (Wellesley College): Ian Burn’s Conceptualism [Reprinted by permission of the author from Art in America December 1997: 72-79, 106]

Throughout this volume, at opening of each part:

Carole Condé and Karl Beveridge (Artists, Toronto): Selected illustrations from It’s Still Privileged Art (1976)



Editor’s Introduction