Conceptual Art

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Andrea Fraser and Helen Molesworth
2016 Book 1 Bw

Delving into public arts funding, resentment of “cultural elites,” and campaign finance, artist and curator discuss 2016 in Museums, Money, and Politics—Fraser’s examination of the intersection of cultural and political patronage.

Fuck It, Let’s Boogie (or Everything Will Be Taken Away): Adrian Piper’s A Synthesis of Intuitions: 1965–2016 by Jessica Lanay
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A retrospective by the groundbreaking conceptual artist.

I Want Us To Look More Closely: Chloë Bass Interviewed by Jessica Lynne
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Asking the question, “Why are we like this?”

Falling Man: Dag Alveng’s Still Time by Eli Zeger
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Capturing subtle moments of transition.

Radical Habitation: Gordon Matta-Clark: Anarchitect by Forrest Muelrath
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Making interiors exterior.

Lydia Ourahmane by Ben Blackmore
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The oil barrels Ourahmane shipped from Algeria to the UK became the first artwork legally exported from her home country since 1962. Her practice engages escape and displacement narratives. 

Writing Anti-Stories: an Interview with Roberta Allen by John Zinsser
Catskills Postcard

“When we really like a book, it’s often because its rhythm is similar to our own—to our heartbeat, our breathing, the way we walk. I think that’s what draws us to certain writers and not to others even though we know they are great.”

Nina Katchadourian by Mónica de la Torre​
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Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.

Anne Garréta’s Not One Day by Youmna Chlala

If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.

Steffani Jemison by Ben Lerner
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Early film, nineteenth-century science fiction, and experimental musical languages serve a young artist’s explorations of race and our political present.

Terry Allen by Clinton Krute
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“Making music work to the lyric, and making the lyric work to the note.”

Portfolio by Johannes Bendzulla
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Some released, not yet released, or never to be released works from the last three years.

Tom McCarthy by Frederic Tuten
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Tom McCarthy could be considered a conceptual artist whose medium is fiction. His Satin Island is just out. Frederic Tuten, the British novelist’s counterpart on this side of the Atlantic, investigates the novel’s dizzyingly diverse sources.

Agnieszka Kurant by Sabine Russ
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Agnieszka Kurant’s interests include various forms of surplus, invisible entities, and the phantoms haunting capitalist production. Some of her projects involve crowdsourcing, others outsourcing to nonhuman species: think colonies of termites.

Portfolio by Ofri Cnaani

My Untranslated Feed

Greil Marcus by Matthew Choate
Still From Guitar Drag

Rock ’n’ roll and the malleability of historical fact.

Paul Chan’s Selected Writings, 2000–2014 edited by George Baker and Eric Banks by Alan Gilbert
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Chan is not an artist who also writes; he’s an artist and a writer.

Joe Sola by Stuart Horodner
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“So I had this idea to get an anesthesiologist to knock me out during an art fair, and I could just lie there, well dressed, as if I were out looking at art in this center of commerce, but having totally checked out.”

Ray Johnson’s Not Nothing: Selected Writings, 1954-1944, Edited by Elizabeth Zuba by Trisha Low
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So I guess Ray Johnson could have been amateur—you know, like that person at karaoke who, as Barthes said, loves to love without the spirit of competition?

smudge studio by Sara Jacobs & Emily Gordon
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