Tony Conrad has significantly influenced cultural developments
from minimalism to underground film, "concept art," postmodern
appropriation, and the most sophisticated rock and roll. Creator of
the "structural" film, The Flicker, collaborator on Jack Smith's
Flaming Creatures and Normal Love, follower of Henry Flynt's
radical anti-art, member of the Theatre of Eternal Music and the
first incarnation of The Velvet Underground, and early associate of
Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has eluded
canonic histories. Yet Beyond the Dream Syndicate does not claim
Conrad as a major but under-recognized figure. Neither monograph
nor social history, the book takes Conrad's collaborative
interactions as a guiding thread by which to investigate the
contiguous networks and discursive interconnections in 1960s art.
Such an approach simultaneously illuminates and estranges current
understandings of the period, redrawing the map across medium and
stylistic boundaries to reveal a constitutive hybridization at the
base of the decade's artistic development. This exploration of
Conrad and his milieu goes beyond the presentation of a relatively
overlooked oeuvre to chart multiple, contestatory regimes of power
simultaneously in play during the pivotal moment of the 1960s. From
the sovereign authority invoked by Young's music, to the
"paranoiac" politics of Flynt, to the immanent control modeled by
Conrad's films, each avant-garde project examined reveals an
investment within a particular structure of power and resistance,
providing a glimpse into the diversity of the artistic and
political stakes that continue to define our time.Branden W. Joseph
is Professor of Modern and Contemporary Art in the Department of
Art History and Archaeology at Columbia University and an editor of
the journal Grey Room (MIT Press). He is the author of Random
Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press,
2003.)
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