Lorenz's move is similar to many twentieth century conceptualists
(beginning with Natorp 1902) who take the argument at stage two to elucidate the conditions of the possibility of predication.
I will not press an incoherence objection because, obviously, conceptualists
don't regard their position as incoherent.
In the past, there was a tendency to strategically ignore photography's role as a medium, since Conceptualists
often treated the camera as a simple artless recording device, leaving "fine art" photography to the likes of Ansel Adams.
Although the influence of the Minimalists and Conceptualists
of the 1960s and '70s is evident in Zawadzki's work, the inclusion of a single decontextualized and quasi-anonymous work by Perjovschi in the show in many ways helped to ground Zawadzki's oeuvre in broader concerns.
While Jackson claims, modestly, that his task is to save the memory of the Soviet Union from oblivion, Groys goes further, claiming that the Moscow Conceptualists
knew something intrinsic to our contemporary condition, something we still need to understand.
The group's members took turns conceiving laconic and incongruous scenarios, which they acted out together with a handful of other Moscow Conceptualists
, almost always outside of the city.
It would be easy to label groups like No-Grupo as ideological conceptualists
, but that would be reductive; the reality of this art vastly exceeds any such interpretive corset.
In their pairing of image and text, Buecking's works most directly recall Conceptualists
such as John Baldessari and Douglas Huebler.
Yet it quietly elided the questions that deductive Conceptualists
relish: Why is the work here?
The five other paintings in the show, each with a combination footnote/title, also serve as homages to Moscow conceptualists
and their critical champions (several of whom, by the late '80s, had emigrated to the West).
This less than ideal curatorial decision is compensated for, however, by Vadim Zakharov's installation The History of Russian Art--From the Avant-Garde to the Moscow School of Conceptualists
Jonathan Monk loves first-generation Conceptualists
like family: unconditionally and without compunction about teasing them for their foibles.
This is evasive almost to the point of hypocrisy, of course, when "this" is being presented by an art gallery as the work of an artist, yet its logic is superb: In contradiction to the insistence of the first-generation Conceptualists
(all progeny of Rauschenberg's portrait of Iris Clert, 1961) on the artist's intention, in the end it is always others who must take responsibility for the designation of an object as an artwork.
This is what distinguishes his work from that of other pioneering Conceptualists
like Joseph Kosuth, whose early work was more involved with the definition of the "thing," or Bruce Nauman, whose art is often characterized by the emotional trace of the self.
One suspects that Matthew Collings's bafflement at the power of formalism might be resolved by this survey of the territory currently shared by aesthetes and conceptualists