Lucy R. Lippard's famous book, itself resembling an exhibition, is
now brought full circle in an exhibition (and catalog) resembling
her book. "Conceptual art, for me, means work in which the idea is
paramount and the material form is secondary, lightweight,
ephemeral, cheap, unpretentious and/or 'dematerialized.'" -Lucy R.
Lippard, Six Years In 1973 the critic and curator Lucy R. Lippard
published Six Years, a book with possibly the longest subtitle in
the bibliography of art: The dematerialization of the art object
from 1966 to 1972: a cross-reference book of information on some
esthetic boundaries: consisting of a bibliography into which are
inserted a fragmented text, art works, documents, interviews, and
symposia, arranged chronologically and focused on so-called
conceptual or information or idea art with mentions of such vaguely
designated areas as minimal, anti-form, systems, earth, or process
art, occurring now in the Americas, Europe, England, Australia, and
Asia (with occasional political overtones) edited and annotated by
Lucy R. Lippard. Six Years, sometimes referred to as a conceptual
art object itself, not only described and embodied the new type of
art-making that Lippard was intent on identifying and cataloging,
it also exemplified a new way of criticizing and curating art.
Nearly forty years later, the Brooklyn Museum takes Lippard's
celebrated experiment in curated concatenation as a template,
turning a book that resembled an exhibition into an exhibition
materializing the ideas in her book. The artworks and essays
featured in this publication recall the thrill that was tangible in
Lippard's original documentation, reminding us that during the late
sixties and early seventies all possible social and material
parameters of art (making) were played with, worked over, inverted,
reduced, expanded, and rejected. By tracing Lippard's own
activities in those years, the book also documents the early
blurring of boundaries among critical, curatorial, and artistic
practices. With more than 200 images of work by dozens of artists
(printed in color throughout), this book brings Lippard's
curatorial experiment full circle.
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