Advertisement

Introduction

  • Eve Kalyva
Chapter

Abstract

Conceptual art, as a historical art movement that emerged in the late 1960s and early 1970s and as a point of reference for contemporary art practices, is generally identified by its use of language. For many, it has even redefined writing as an artistic practice. But how exactly was language used, and with what aim? Equally important, how has the presence of language in a visual art context affected and changed the ways in which art is talked about, theorised and produced? Chapter 1, Introduction, outlines the aim and method of this book: an interdisciplinary study of conceptual art’s critical use of image and text juxtapositions as a strategy for exposing and challenging several ideological and institutional demands placed on artistic practice.

References

  1. Baldwin, Michael, and Mel Ramsden. 1997. Memories of the medicine show. Art-Language, New Series 2: 32–49.Google Scholar
  2. Cockcroft, Eva. 1974. Abstract expressionism, weapon of the cold war. Artforum 12(10): 39–41.Google Scholar
  3. Drucker, Johanna. 1994. The visible word: Experimental typography and modern art, 1909–1923. Chicago: University of Chicago Press.Google Scholar
  4. Gray, Camilla. 1986. The Russian experiment in art: 1863–1922, rev. ed. London: Thames and Hudson.Google Scholar
  5. Lippard, Lucy, and John Chandler. 1968. The dematerialization of art. Art International 12(2): 31–36.Google Scholar
  6. Osborne, Peter. 1997. Conference discussion. Healthy alienation: Conceptualism and the new British art, the Tate Gallery, London, June 13. Audio recording available from the Tate Library TAV 1781A.Google Scholar

Copyright information

© The Author(s) 2016

Authors and Affiliations

  • Eve Kalyva
    • 1
  1. 1.LeedsUK

Personalised recommendations