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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Conceptual art
"Reading the interviews gathered by Patricia Norvell more than
thirty years ago is like opening one of the time capsules Steven
Kaltenbach made at around the same time and discusses here. It
makes one feel nostalgic for these uncompromising times-so much has
changed, so fast! One should be immensely grateful to Norvell for
her undertaking and, paradoxically, for the long delay in the
publication of these conversations: nothing could have better
highlighted the candor and commitment of the artists who
participated in this project than their willingness, long after the
fact, to let their youthful voices be heard unedited. This is a
precious document that casts a fresh light on the early history of
Conceptual art, revealing all the doubts and uncertainties its
practitioners had to overcome."--Yve-Alain Bois, Harvard University
"These interviews, full of the rich texture and confusion of an
art movement at its inception, began as a "process piece" in
mid-1969 when formalism still seemed worth defeating. The artists,
tired of talking about turpentine, struggle to extend the rhetoric
of form, and as they do so, reveal their roles as theorists and
philosophers of a newly cerebral art, Conceptualism. Alberro's
helpful introduction frames both Norvell's provocative questions
and the surprising responses in a useful book that continues the
process of historicizing 20th century art."--Caroline Jones, author
of "Machine in the Studio
"The contemporary interviews collected in this volume shift the
ground on which conceptualism in the United States should be
understood. The middle months of 1969 were a time of artistic and
social unease when artists were anxious to test-and occasionally
todeclaim, as the interviews demonstrate-ideas in conversation with
a sympathetic interlocutor. Patricia Norvell proves to have been an
ideal listener. She knew conceptualism well enough to keep the
conversations honest, but not so well as to make the artists
defensive and wary. The artists had things to say, and were not
afraid to put themselves out on a limb."--John O'Brian, Professor
of Art History, University of British Columbia
"A key document of the late 1960s avant-garde."--James Meyer,
Emory University
"[This book is] a reminder that the project of Conceptual art
and its artists' reasons for refusing the object of art were far
from monolithic. The differences that emerge in the interviews are
spoken in voices that are still fresh and particular, but each
voice and position is tied to the moment of the late 1960s, from
stoned mysticism to philosophical idealism, from political optimism
to materialist critique."--Howard Singerman, author of "Art
Subjects"
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