“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.”

Subtitle of the book.
Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973)

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Lucy R. Lippard8

American art curator 1937

Lucy R. Lippard (1937) American art curator

Source: Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973), p. vii.

“Minimal art went nowhere. Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus. All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art. The other great development has been in photography, but that too was influenced by Conceptual art.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

“In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.”

Sol LeWitt (1928–2007) American artist

Source: Quotes of Sol Lewitt, "Paragraphs on Conceptual Art," 1967, p. 80. Cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/7/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 7

“Ask! Interviewing/information extraction is an (exceptionally important) ‘art’ that must be mastered!”

Tom Peters (1942) American writer on business management practices

06 February 2017
Tom Peters Daily, Weekly Quote

“Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

“This art, which I call the art of persuading, and which, properly speaking, is simply the process of perfect methodical proofs, consists of three essential parts”

Blaise Pascal (1623–1662) French mathematician, physicist, inventor, writer, and Christian philosopher

The Art of Persuasion
Context: This art, which I call the art of persuading, and which, properly speaking, is simply the process of perfect methodical proofs, consists of three essential parts: of defining the terms of which we should avail ourselves by clear definitions, of proposing principles of evident axioms to prove the thing in question; and of always mentally substituting in the demonstrations the definition in the place of the thing defined.

“Fundamental to this idea of art (conceptual art) is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction. (note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.)”

Joseph Kosuth (1945) American conceptual artist

'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

Joseph Kosuth (1945) American conceptual artist

note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.
'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

“Hans Haacke's "Visitor's Profile" encouraged visitors to interact with a computer by inputting personal information, which was then tabulated to output statistical data on the exhibition's audience. Such demographic research - as art - opened up a critical discourse, following Foucault and others, on the exclusivity of cultural institutions and their patrons, revealing the myth of public service as a thin veneer justifying the hierarchical values that reify extant social relations. Similarly, "Interactive Paper Systems" by Sonia Sheridan, engaged museum-goers in a creative exchange with the artist and 3M's first commercially available color photocopying machine, dissolving conventional artist-viewer-object relations. In "The Seventh Investigation (Art as Idea as Idea)" Joseph Kosuth utilized multiple forms of mass media and distribution (a billboard, an newspaper advertisement, a banner, and a museum installation) to question the conceptual and contextual boundaries between art, philosophy, commerce, pictures, and texts.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

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Lucy R. Lippard8

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