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Introduction: 'An Invisible College in an Anglo-American World' | |
Part I. Artists, Object, Spectator: 1. The formalist connection and originary myths of Conceptual art Frances Colpitt | |
2. Content, context and conceptual art: Dan Graham's Schema Alex Aberro | |
3. 'Almost not photography' Melanie Mariñ | |
o | |
4. Soft talk/soft tape: the early collaborations of Ian Burn and Mel Ramsden Ann Stephen | |
Part II. Display: 5. The second degree: working drawings and other visible things on paper not necessarily meant to be viewed as art James Meyer | |
6. When Attitudes become Form and the contest over Conceptual art's history Alison Green | |
7. Understanding Information Ken Allan | |
8. 'The rotting sack of humanism': Robert Morris and authorship Richard J. Williams | |
Part III. Recoding Information, Knowledge, and Technology: 9. Affluence, taste and the brokering of knowledge: notes on the social context of early conceptual art Robert Hobbs | |
10. Hanne Darboven: seriality and the time of solitude Briony Fer | |
11. Art in the information age: technology and Conceptual art Edward A. Shanken | |
12. The crux of conceptualism: Conceptual art, the Idea of idea and the information paradigm Johanna Drucker | |
Part IV. The Limit of the Social: 13. Conceptual work and conceptual waste Blake Stimson | |
14. Conceptual art and imageless truth John Roberts | |
15. New York discusses its social relations in 'The lumpen Headache' Chris Gilbert | |
16. Ian Burn's conceptualism Adrian Piper. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.