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| Volltext: | INDEX abstract expressionism 20, 21, 126—7, 134, 140 abstraction 205 Acconci, V. 150-2, 172, 229, 231 Action-Result proposals 47—9 actions 207—9 aesthetic ideas 101—4 aesthetic judgements 98—9 aesthetic properties 52—3, 66 aesthetic values xv—xvi, 73—6, 86 aesthetics 9 and conceptual art xv—xvi, 9—11, 51—61, 84-7 and literature 9—10 ofmodernism 22—3 and politics 26 Air-Conditioning Show 265 Alberro, A. 107 Alberti, L. B. 121-2, 130 All the things I how but of which I am not at the moment thinking—1.36 P.M.; 15 June 1969, New York (Barry) 112, 140, 229-30 Allais, A. 228 Anaemic Young Girls Going to Their First Communion Through a Blizzard (Allais) 228 analytic propositions 134 appearances 41—4 and Action-Result proposals 47—9 appreciation 52—3, 85—6, 89—90, 145—6, 206 of conceptual art xix—xx failure of 253—5 focus of 75, 84, 85, 167 and sense experience 54—8, 62 Arctic Circle Shattered, The (Weiner) 112 Arnatt, K. 3-4 art contextualization of 129—32, 141-4 folk ontology of 242—5 ideas in 87—9 and nature 106, 108—9 nature of 133—4 vehicles 13, 15—16, 76 n. 6, 145—8, 152, 154-5 see also dematerialization Art & Language xii, xx, 31, 110—11, 198, 251-2, 257-66 institutional theatre 259—60, 261-2 see also Harrison, C. art-form hypothesis 246—52, 253, 255 Art in the Mind exhibition 229 Art—Language 72, 249 art media xiii, 145 and art forms 246—8, 253 Art Workers Coalition 78, 81—2 art works 109 cognitive value of 166, 167 discourse-dependent 165—6, 168 and impossibilist surprise 219—21 self-reflexivity of 134—5 unreality of 120—4 and value 203—7 Arte Povera 154, 198 artistic character 207—11 artistic properties 52-3, 59-61, 66-7 artistic propositions 135 artistic value 79—81 artistic vehicle 145—6, 148, 152 Les Arts Incohérents exhibition 228 Auerbach, F. 205 Austin, }. L. 3—4 avant-garde 19—21, 228—9, 238, 259 Ayer, A. J. 93-4, 124, 134, 135 268 / Index Baldessari, J. 171—2 Baldwin, M., see Art & Language Barry, R. 44, 252; see also Inert Gas: Helium base properties 60—1, 66—7 Battcock, G. 28 Baxandall, M. 130 Baxter, I. and E. 172 beauty 7, 43 n. 15, 72, 122, 228-9, 232 Kant and 96—7, 108 rejection of xii, xv, 131 see also aesthetic values; aesthetics beliefs 184 and mental images 178—9 visual 186—8 Belting, H. 119, 134 Benjamin, W. 27—8 Binkley, T. 72, 157 n. 1 Bochner, M. 5, 15, 77, 81, 172, 244 Boettger, S. 223—4, 225, 226 Breton, A. 142 Broken Kilometer, The (de Maria) 224 Brooks, C. 8 Budd, M. 23 Burn, I. 250 Cage, J. 13, 54, 226-9, 230, 233, 247 Caro, A. 123, 129 Catalysts series (Piper) 111 Cataract III (Riley) 161, 164 Cennini, C. 121 Cézanne, P. 204 Chadwick, H. 138—9, 153 Chair (Van Gogh) 124—6, 128 Chair IV (After Van Gogh) (Caro) 129 Chandler, J. 18 Chapman, J. and D. 131 Cloaca (Delvoye) 222 cognitive values 73—4, 79-84, 86, 157-61, 166-9 combinational creativity 218—19, 220, 230-3, 234, 235-6 commodification 25 Conceptual Art (1966-1972) xi-xii, 18-19 Art & Language on 258—9 art-form hypothesis 246-52, 253, 255 definitions of x, 240, 241—2, 253 LeWitt's aesthetics of 104—9 and minimalism 22 and modernism 19, 21—2, 29, 31 new art hypothesis 240—2, 243 ontological hypothesis 242—5 and plastic art 249—52, 253, 254 and propositions 35 n. 5 concrete poetry 6 continuities/discontinuities in art 140— 1, 143, 155 conversational implicature 62—7 conversations 62—7, 263—4 Conversions I, II, and III (Acconci) 150—2 Cork, R. 144 Cormier, C. 247 Craig-Martin, M. 78-9, 82, 88, 166-7 creativity and affordances 218 and artistic character 207— 11 combinational 218—19, 220, 230—3, 234, 235-6 and conceptual art 216—36 definition of 216—18 evaluation of 211 — 14 exploratory 218—19, 220, 231 transformational 218—30, 235 cubism 259 Danto, A. 4, 11, 13, 20, 36 n. 10, 242 Davies, D. 75 n., 157, 167, 230—1, 243, 244-5 vehicular medium 76 de Maria, W. 226, 227, 234; see also Vertical Earth Kilometer Delacroix, E. 102 Delvoye, W. 222 dematerialization 18—31, 84, 85, 86, 201 Lippard on 140, 146, 153, 225, 254 demonstration illustrative 159—60 rational 160, 161 Dickie, G. 241 disegno esterno 122, 123 disegno interna 122, 129 disinterest 97 Distance: The Kiss with Added String, The (Parker) 198, 203 Distinctness Principle 12—13 Donne, J. 7—8 Index / 269 Double Negative (Heizer) 225-6 Duchamp, M. 11, 30, 36 n. 10, 140, 223; see also Fountain and L.H.O.O.Q. Ego Geometrica Sum (Chadwick) 153 Ellis, P. 144, 146 Emin, T. 11, 222 Empiricist Principle 12—13 engagement 42—5, 47—9 Erased de Kooning Drawing (Rauschenberg) 198, 200-1, 203 essayistic practice of conceptual art 259, 260-1, 262 Execution of Emperor Maximilian, The (Manet) 73, 80 exemplification 160, 161—4 expectations 62, 63, 64—7 experience 11-14, 22 experiential knowledge 83—4, 89 exploratory creativity 218-19, 220, 231 expressionism 107, 134 abstract 20, 21, 126—7, 134, 140 film 27, 150-2, 223-4 Finlay, I. H. 254 Flynt, H. ix n. Following Piece (Acconci) 150—1, 172, 229 Fool's Fiouse (Johns) 127—9 formalism 96, 109—10, 123 Fountain (Duchamp) 151, 165, 198, 203, 221-2 impact of 58—9 and sense experience 54—5, 56, 57, 202 and standard conception of art 200—1, 211, 233 4'33" (Cage) 13, 54, 226-8, 230, 247 Fried, M. 21, 37 n. 11 Gallacio, A. 201 genius 103, 107—9 Godfrey, T. 26, 27, 35 n. 6, 77, 79, 201, 240 Good Boy Bad Boy (Nauman) 202 Goya, F. 222 Graham, D. 110, 111, 202 Greenberg, C. 19-20, 23-4, 25, 142 judgements 98—9 on modernism 36, 94—100 music 98 purity of looking 37, 38 purity of medium 37-8 theory of visual art 37—8 Grice, H.P. 63 Guardian, The 162 Guggenheim, P. 142 Harrison, C. 18, 27, 43, 48 n. and modernism 19, 22—3, 36, 39, 95 see also Art & Language Heizer, M. 225—6, 231 Hirst, D. xii, 11, 144, 149, 223 Hogarth, W. 222 Holzer, J. 165, 202 Homes for America (Graham) 110, 202 Hostage XXIV (Art & Language) xii Huebler, D. 58, 59, 112, 171 Hume, D. 99 ideas ix—x, 6—8, 86—9, 216—17 and aesthetics 74—6, 89—90, 101—4 conceptual art and 76—9 and perception 13 philosophical 76, 78—9 socio-political 76, 78 identity 153—4 illusions/illusionism 37—8, 144 illustrative demonstration 159—60 illustrative representation xiii, 159—61, 169 imagination 171—93 imagining s 172—3 propositional 172, 192—3 visual 172-4, 175, 177 In Advance of a Broken Arm (Duchamp) 198 Index 01 (Art & Language) 110—11 Inert Gas: Helium (Barry) 77—8, 80, 81, 84, 243-4 Inert Gas Series (Barry) 77—8, 252 Insertions into Ideological Circuits (Meireles) 78, 81-2, 84 institutional theatre 259—60, 261—2 institutionalism 29—30 Intensities and Surfaces (Gallacio) 201 intuition 105, 107—8, 109 irony 208-9 Jackson, F. 162 Jackson Pollock Bar of Freiburg 258 Janaway, C. 43 n. Johns, J. 127—9 270 / Index Judd.D. 21, 250 judgements 98—9, 105 Kant, I. 107-9 aesthetic judgements 98-9 aesthetic ideas 101—4 on art and nature 106, 108 —9 disinterest 97 formalism 109—10 on genius 107-8 Greenberg and 94—100 Kassel Index 252 Kawara, O. xii, 112, 243, 252, 253 knowledge xvi—xviii, 157—69 and beliefs 188 and cognitive value 167 exemplification and 161—4 experiential 83—4, 89 propositional 81—2 and representation 159—61 visualization and 173—4, 186, 188 Koslov, C. xii Kosuth, ]. x, 120 n., 123—4 on conceptual art 35 n. 5, 72, 73, 75, 93-4, 240, 249-50 on works of art 109 n. 39, 158, 241 see also One and Three Chairs L. H. 0.0. Q. Shaved (Duchamp) 244, 252 language 3—4, 55, 67, 134—5, 249-50 semantic representation 159, 160—1 Last Supper, The (Leonardo) 204 learning, and visualization 173-4, 175, 177, 183, 185-6, 191 Leonardo da Vinci 204, 243, 244 Levine, L. 198 LeWitt, S. xv, 111, 129, 224, 230, 249 and Conceptual Art 104-9, 252 conceptual art definition 5, 39 n., 71, 74, 158-9, 225, 231 music analogy 147—8 see also Wall Drawings Liberty Leading the People to Victory (Delacroix) 102 Linker, K. 151, 152 Lippard, L. xi, 5, 18 dematerialization of art object 140, 146, 153, 225, 254 literature 5—10, 56—8 looking primacy of 38—45 purity of 37, 38 Louis, M. 37 Lucie-Smith, E. 142—3 Manet, E. 20, 73, 80 Manzoni, P. 86 n., 243 Marche Funèbre, composée pour les Funérailles d'un Grand Homme Sourd (Allais) 228 Marriage oj Figaro (Mozart) 73 Masaccio (Tommaso di Giovanni de Simone Guidi) 130 materials 120 n. meaning 6, 35, 152—5 medium artistic xiii, 145, 246—8, 253 purity of 37—8 vehicular 76, 83—4, 85, 86—7, 145 Meireles, C. 78, 81—2, 84 mental images and conclusions 185—9 content of 178 —9, 183—4 interpretation of 176—7 and knowledge acquisition 174—6 objects of 189—92 origin of 177—82 and propositional imaginings 192—3 and understanding 185 and will 178, 182-5 metaphor 7-8 Meyer, U. 77 minimalism 20—1, 99 conceptual art and 22 and modernism 20—1 modernism 24, 25, 34, 71—2, 94—100 aesthetics of 22—3 and conceptual art 19, 21—2, 29, 31 and conceptualism 36, 40 and minimalism 20— 1 and politics 26—7 Momart warehouse fire 157—8 Mona Lisa (Leonardo) 243, 244 Moore, H. 224 Morris, R, 140 Mozart, W. A. 73 music 73, 98, 147-8, 149-50, 228-9; see also 4'33" Index / 271 narrative paintings 171—2 narratives 33—4, 48, 138—55 of conceptualism 34, 40 and contextualization of art 141—4 continuities/discontinuities in art 140—1, 143, 155 documentation of 150—2 and identity 153—4 internalist/externalist theories 142—3 and meaning 152—5 reception 143—50 nature, and art 106, 108—9 Nauman, B. 35-6, 44, 172 n. 7, 202, 229, 231 Negroes Fighting in a Cave at Night (Allais) 228 new art hypothesis 240—2, 243 New York—Boston Shape Exchange (Huebler) 171 non-aesthetic art 10—11, 71—3 normativity 14—16 Oak Tree, An (Craig-Martin) 78—9, 82, 88, 166-7 objectivity 26, 97, 128 Ofili, C. 222 Oldenburg, C. 223—4, 230, 233 One and Three Chairs (Kosuth) 36 n. 8, 121, 128, 129, 131-2, 200-1, 202 meaning of 119, 123-4, 126, 133—6 and reality 79, 82, 132, 168 One Hundred Live and Die (Nauman) 35—6, 44 One Million Years (Kawara) 112 One Quart Exterior Green Industrial Enamel thrown on a Brick Wall (Weiner) 112 ontological hypothesis 242—5 optical depth 37—8 Osborne, H. 238 Osborne, P. 36 n. 8, 77, 93 Oval Court, The (Chadwick) 153 Painted Word, The (Wolfe) 139-40 painting 20—1, 23—7, 55 illusionism in 37 narrative 171—2 optical depth 37—8 Renaissance 153 Paolini, G. 154 Paragraphs on Conceptual Art (LeWitt) 104—5, 147 Parker, C. 198, 203 Parsons, T. 158 n. 4 perception 89—90 conceptual art and 3—16 and visualization 179—80, 181—2 performance 147—8, 149—51 philosophy and conceptual art x—xi ideas 76, 78—9 photography 78, 81—2, 138 —9, 151, 211, 231 Physical Impossibility of Death in the Mind of Someone Living, The (Hirst) 144 Picasso, P. 207 Pierro della Francesca 130 Pillow, K. 147, 148 Piper, A. 36 n. 10, 72, 111 Placid Civic Monument (Oldenburg) 223—4 plastic art 246, 249—52, 253, 254 Plato 79, 120-4 poetry 5, 6, 7-8, 101 n. 22, 121, 254 politics, and modernism 26—7 Pollock, J. 142-3, 204-5, 207 pop art 21 properties 59—61 aesthetic 52—3, 66 artistic 52—3, 59—61, 66—7 base 60—1, 66—7 propositional imaginings 172, 192—3 propositional knowledge 81—2 propositions 35 n. 5, 124, 134 Q. And babies? A. And babies. (Art Workers Coalition) 78, 81—2 Ramsden, M., see Art & Language rational demonstration 160, 161 Rauschenberg, R. 106, 198, 200—1, 203 readymades 78, 198, 223, 241, 263; see also Duchamp reception narratives 143—50 Recherches (Tuymans) 139 representation xiii, 159—61, 165—9 Riley, B. 161, 164 Romanticism 200, 214 Rowlandson, G. 222 Ryman, R. 139, 154 Sartre, J.-P. 173-4, 176-7, 178, 179-82 direct realism 181 272 / Index Sartre, J.-P. (cont.) on mental images 175, 185, 189—91, 192 n. and new beliefs 187 and understanding 185 Schoenberg, A. 220, 233 sculpture 123, 154, 221-6, 232, 249-50 semantic representation xiii, 159, 160—1, 165-9 sense experience 54—8, 62 Sentences on Conceptual Art (LeWitt) 104, 105 Shakespeare, W. 7 Shelley, J. 51-2 Sibley, F. 80 n. Sierra, S. 162—4 sight 38—42 Sladen, M. 138-9, 153 Smith, R. 158 Smith, T. 28 Something which is very near in place and time, but not yet known to me (Barry) 44 Space Closed by Corrugated Metal (Sierra) 162-4 Statements (Weiner) 171 Steinberg, L. 37 Stella, F. 26 Still Life (Tuymans) 154 Stimson, B. 107 Strawson, P. F. 10 subjectivity 107—9, 126, 127, 128 Swift, J. 222 Tate Modern 139 Taylor, P. 176 (n. 17) technique 209—11 theatre, institutional 259—60, 261—2 theory-change narratives 34 36" X 36" Removal to the Lathing or support Wall or Plaster or Wall-Board from a Wall, A (Weiner) 111 Touch Sanitation (Ukeles) 243, 252, 253 transformational creativity 218—30, 235 transubstantiation 79, 82, 85, 166-9 Trouser- Word Piece (Arnatt) 3—4 Truisms (Flolzer) 165 Truisms, Inflammatory Essays, The Living Senses, Under a Rock, Laments and New Writing exhibition 202 truth 26, 31, 136, 165, 265 Turk, G. xii Tuymans, L. 139, 154—5 200 Campbell's Soup Cans (Warhol) 165 Ukeles, M. 243, 252, 253 understanding xvi—xviii, 63, 121—2, 243, 244 aesthetics and 88, 92, 102—3 of art 33, 90, 94, 95, 125, 136 artists and 126 n., 131, 132, 208 context and 129—30, 133 and engagement 42—3, 46, 47—8 generated by art 73, 80, 81—3, 84—5, 199 imagining and 173, 185 and meaning 35 perspectives and 159—60 Untitled (Paolini) 154 Untitled (Ryman) 139 values 87, 217—18 aesthetic xv—xvi, 73—6, 86 affordances 218 artistic 79—81, 96 artworks and 203—7 cognitive 73—4, 79—84, 86, 157—61, 166-9 and conceptual art 233—6 and modernism 95 traditional model 87 Van Gogh, V. 124-6, 128 Vanity (Chadwick) 153 Variable Piece # 70 (In Process) Global (Huebler) 58, 59, 112 Vertical Earth Kilometer (de Maria) 53—4, 56, 57, 58-9, 171, 224 videos 202 Vietnam War 25-6, 78, 223 Viral Landscapes (Chadwick) 138—9, 153 vision 38-42 visual art 12 and conceptualism 35—7 and optical depth 37—8 and primacy of looking 38-40 visual beliefs 186—8 visual imaginings 172-4, 175, 177 visualization 172—3, 188, 190 and knowledge 173—4, 186, 188 and learning 173-4, 175, 177, 183, 185-6, 191 and perception 179-80, 181-2 Index / 273 Wall Drawing No. 623 Double asymmetrical pyramids with colour ink washes superimposed (LeWitt) 146—7 Wall Drawings (LeWitt) 146-9, 153 Walton, K. 12, 248 Warhol, A. 165, 211 Weiner, L. 111, 112, 171 White, A. 185 will, and mental images 178, 182—5 Wilson, I. 263 Wittgenstein, L. 127-8, 135, 174, 177, 187 on mental images 175—6, 178, 182—3, 191 Wolfe, T. 139-40, 142, 238-9 Wollheim, R. 12 n. 13, 24, 37 n. 11 Wood, P. 72 & n„ 77, 240, 249 Working Drawings and other Visible Things on Paper not Necessarily Meant to be Viewed as Art (Bochner) 77, 81, 244 Young, J. 158, 159-61, 164—5 Zuccari, F. 122 |
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