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Lucy Lippard the 75 year old American internationally known writer, art critic, activist and curator among the first writers to recognize the "dematerialization" at work in conceptual art and was an early champion of feminist art has been featured by Chloe Wyma in an article for Blouin Artinfo titled ‘Four Decades After Lucy Lippard's "Six Years," Is Conceptual Art Still Relevant? Wyma states “If you want to understand the stakes of the “dematerialization of the art object,” look no further than the late British artist John Latham’s “Art and Culture,” the entrance piece at “Materializing Six Years: Lucy Lippard and the Emergence of Conceptual Art” at the Brooklyn Museum. The piece mockingly takes its title from mid-century formalist art critic Clement Greenberg’s influential text: An open briefcase reveals a copy of Greenberg’s book, an overdue notice from the library, and vials containing the masticated pulp of its pages. The byproduct of a party where Latham invited guests to chew the pages of Greenberg’s book, the work takes the radical propositions of dematerialization quite literally, turning the bible of formalist art criticism into formless cud. Casting off the cloth of the detached, Greenbergian art critic, Lucy Lippard played a crucial role, not only as a writer, but as curator and collaborator within the diverse artistic activity that’s now catalogued under the rubric of Conceptual Art. As she writes in the forward to the exhibition, Lippard and her circle “invented ways for art to act as an invisible frame for seeing and thinking rather than as an object of delectation or connoisseurship.” In their critique of the art object, they sought to remake the art world as a network of ideas to be shared, rather than a marketplace of objects to be bought and sold.”   Inspired by Chloe Wyma, Blouin Artinfo ow.ly/gGWLj Image source Fluxusa ow.ly/gGWJS Is Conceptual Art still relevant? (January 15 2013)

Lucy Lippard the 75 year old American internationally known writer, art critic, activist and curator among the first writers to recognize the “dematerialization” at work in conceptual art and was an early champion of feminist art has been featured by Chloe Wyma in an article for Blouin Artinfo titled ‘Four Decades After Lucy Lippard’s “Six Years,” Is Conceptual Art Still Relevant? Wyma states “If you want to understand the stakes of the “dematerialization of the art object,” look no further than the late British artist John Latham’s “Art and Culture,” the entrance piece at “Materializing Six Years: Lucy Lippard and the Emergence of Conceptual Art” at the Brooklyn Museum. The piece mockingly takes its title from mid-century formalist art critic Clement Greenberg’s influential text: An open briefcase reveals a copy of Greenberg’s book, an overdue notice from the library, and vials containing the masticated pulp of its pages. The byproduct of a party where Latham invited guests to chew the pages of Greenberg’s book, the work takes the radical propositions of dematerialization quite literally, turning the bible of formalist art criticism into formless cud. Casting off the cloth of the detached, Greenbergian art critic, Lucy Lippard played a crucial role, not only as a writer, but as curator and collaborator within the diverse artistic activity that’s now catalogued under the rubric of Conceptual Art. As she writes in the forward to the exhibition, Lippard and her circle “invented ways for art to act as an invisible frame for seeing and thinking rather than as an object of delectation or connoisseurship.” In their critique of the art object, they sought to remake the art world as a network of ideas to be shared, rather than a marketplace of objects to be bought and sold.”

 

Inspired by Chloe Wyma, Blouin Artinfo ow.ly/gGWLj Image source Fluxusa ow.ly/gGWJS

Thinking Contemporary Curating (October 6 2012) Thinking Contemporary Curating (October 6 2012)

Terence Edwin Smith the 68 year old Australian art historian, art critic and artist renowned for his ability “to write criticism at once alert to the forces that contextualize art and sensitive to the elements and qualities that inhere to the works of art themselves”, has been interviewed by Orit Gat. In the interview Smith states “To give something back to curators. We all owe them a huge debt. When you’re an art historian, you tend to search museum installations and exhibitions for fresh art historical facts, for something that will help you interpret more deeply, or at least differently, a school of art or the work of an artist over a whole career. If you’re an art critic, you try to write about your response to the works in the exhibition, one by one or one compared to others, with a focus on the artist or a kind of art. But art critics, art historians, the general public, and even artists don’t pay sufficient attention to the curatorial thought behind exhibitions. …[curators] have become more active, more public thinkers…and call themselves “exhibition makers.” They overtly engage viewers with their thinking about art, and particularly about how art relates to the world—which is something that art itself has done much more since the 1960s and 1970s. Also, curators have become more like artists in the ways they present an exhibition–it then becomes, in a sense, an artwork. At the same time, certain artists are making works of art that are more like exhibitions, and more and more are taking control of exhibiting their own art…”

 

Inspired by Blouin Artinfo ow.ly/e0ddo image source PittEdu ow.ly/e0dOm

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