The long-awaited history of the art college that became an unlikely
epicenter of the art world in the 1960s and 1970s. How did a small
art college in Nova Scotia become the epicenter of art
education-and to a large extent of the postmimimalist and
conceptual art world itself-in the 1960s and 1970s? Like the
unorthodox experiments and rich human resources that made Black
Mountain College an improbable center of art a generation earlier,
the activities and artists at Nova Scotia College of Art and Design
(aka NSCAD) in the 1970s redefined the means and methods of art
education and the shape of art far beyond Halifax. A partial list
of visiting artists and faculty members at NSCAD would include
Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner,
Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert
Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum.
Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing
books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel
Buren, Michael Asher, Martha Rosler, and Michael Snow, among
others. The Lithography Workshop produced early works by many of
today's masters, including John Baldessari, Vito Acconci, and Claes
Oldenburg. With The Last Art College, Garry Kennedy, the college's
visionary president at the time, gives us the long-awaited
documentary history of NSCAD during a formative era. From gallery
openings to dance performances to visiting lectures to exhibitions
to classroom projects, the book gives a rich historical and visual
account of the school's activities, supplemented by details of
specific events, reminiscences by faculty and students, accounts of
artists' talks, and notes on memorable controversies.
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