Materializing "Six Years": Lucy R. Lippard and the Emergence of Conceptual Art (MIT Press)

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9780262018166: Materializing

"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: T he 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.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

About the Author:

Catherine Morris is Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

Vincent Bonin is an independent curator living in Montreal.

Review:

Along with a short retrospective essay by Ms. Lippard, chapters by the exhibition's organizers, Catherine Morris and Vincent Bonin, clearly and engagingly explicate a genre so casual observers often find stupefyingly obscure. The book should be required reading for anyone seeking a deeper understanding of this still powerful influence of theory on art today.

(The New York Times)

Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art is as lavish a publication as the original is modest. It includes 200 images, and it's a treat -- and kind of a bibliophilic joke -- to see these black-and-white photographs, diagrams, typescripts, and postcards printed in color, so that creamy paper looks creamy and ballpoint pen can be told apart from pencil.

(Bomb)

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Descrizione libro MIT Press Ltd, 2012. Condizione libro: New. Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin. Editor(s): Morris, Catherine J.; Bonin, Vincent. Num Pages: 304 pages, 184 color illus., 33 b&w illus. BIC Classification: ACXJ5. Category: (P) Professional & Vocational. Dimension: 261 x 224 x 30. Weight in Grams: 1522. . 2012. First edition. Hardcover. . . . . . Codice libro della libreria V9780262018166

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Catherine Morris, Vincent Bonin, Lucy R. Lippard
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Descrizione libro MIT Press 2012-09-18, Cambridge, Mass. |London, 2012. hardback. Condizione libro: New. Codice libro della libreria 9780262018166

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Morris, Catherine, Bonin, Vincent, Lippard, Lucy R.
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Descrizione libro MIT Press Ltd. Condizione libro: New. Published on the occasion of the exhibition The Six Years' Project: Lucy R. Lippard and the Emergence of Conceptual Art, September 14, 2012-February 3, 2013, organized by Catherine Morris, Curator of the Elizabeth A. Sackler Center at the Brooklyn Museum, and the independent scholar Vincent Bonin. Editor(s): Morris, Catherine J.; Bonin, Vincent. Num Pages: 304 pages, 184 color illus., 33 b&w illus. BIC Classification: ACXJ5. Category: (P) Professional & Vocational. Dimension: 261 x 224 x 30. Weight in Grams: 1522. . 2012. First edition. Hardcover. . . . . Books ship from the US and Ireland. Codice libro della libreria V9780262018166

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Descrizione libro MIT Press Ltd, United States, 2012. Hardback. Condizione libro: New. Language: English . Brand New 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 YearsIn 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: T he 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. Codice libro della libreria AAS9780262018166

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Editore: MIT Press Ltd, United States (2012)
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Descrizione libro MIT Press Ltd, United States, 2012. Hardback. Condizione libro: New. Language: English . Brand New 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 YearsIn 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: T he 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. Codice libro della libreria AAS9780262018166

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Catherine Morris
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Catherine Morris
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Descrizione libro Mit University Press Group Ltd, 2012. Condizione libro: New. Codice libro della libreria TH9780262018166

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