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Conceptualism and Materiality. Matters of Art and Politics underscores the significance of materials and materiality within Conceptual art and conceptualism more broadly. It challenges the notion of conceptualism as an idea-centered, anti-materialist enterprise, and highlights the political implications thereof.
Sculptural Materiality in the Age of Conceptualism is structured around four distinct but interrelated projects initially realized in Italy between 1966 and 1972: Yayoi Kusama?s Narcissus Garden, Michelangelo Pistoletto?s Newspaper Sphere (Sfera di giornali), Robert Smithson?s Asphalt Rundown, and Joseph Beuys?s Arena. These works all utilized non-traditional materials, collaborative patronage models, and alternative modes of display to create a spatially and temporally dispersed arena of matter and action, with photography serving as a connective, material thread within the sculpture it reflects. While created by major artists of the postwar period, these particular projects have yet to receive substantive art historical analysis, especially from a sculptural perspective. Here, they anchor a transnational narrative in which sculpture emerged as a node, a center of transaction comprising multiple material phenomenon, including objects, images, and actors. When seen as entangled, polymorphous entities, these works suggest that the charge of sculpture in the late postwar period came from its concurrent existence as both three-dimensional phenomena and photographic image, in the interchanges among the materials that continue to activate and alter the constitution of sculpture within the contemporary sphere.
Discussions of materialism have exploded in recent years. From the speculative realism/materialism of Quentin Meillassoux to the New Materialism of many modern Marxisms, the interest in a return to or rehabilitation of materialism is on the rise. What is not analyzed in many of these discussions, however, is a trenchant methodological and metaphysical problem lying at the basis of any philosophical materialism: if matter is simply that which is other than thought, then how can it be thought without drawing it away from its materiality? On the other hand, if one assumes a direct access to matter, to this other, what are the conditions of that access? Are they material conditions or cognitive (thought) conditions? Does what would present itself immediately present, at the same time, the conditions that allow it to be presented? If not, then we are closer to a theology of matter and further from a philosophical materialism. The Thought of Matter investigates this metaphysical and methodological problem through Aristotle, Marx, Adorno, Althusser, Duns Scotus, Hobbes, and Benjamin in order to show that a philosophical materialism necessarily requires the concepts and tools of thought in order to allow the otherness of matter to emerge in its own materiality.
An international movement that followed specific geographical-cultural patterns, Conceptual Art built on the legacy of Marcel Duchamp, redefining the institutional and social relationships among production, work and audience in ways which have comprehensively transformed the nature of the art object and forms of artistic practice, both historically and in the present. Investigating and documenting the histories, theories and forms of Conceptual Art, this timely book, including both established writers and a new generation of art historians, shows that Conceptual Art was a broad movement encompassing a range of artistic tendencies. This is the most stimulating account of the movement to date, arguing forcefully for its vitality and potential as well as examining its influence on art today. With essays by Alex Alberro, Stephen Bann, Jon Bird, David Campany, Helen Molesworth, Michael Newman, Peter Osborne, Birgit Pelzer, Desa Philipagesi, Anne Rorimer, Peter Wollen and William Wood.
Metaphorical Materialism: Art in New York in the Late 1960s is a volume of essays on the relationship between materiality and materialism in the work of Carl Andre, Robert Smithson, Richard Serra, Eva Hesse and Lawrence Weiner.