Webfolio Bibliography
Artificial Hells, Claire Bishop 2012
I and Thou, Martin Buber Artificial Hells
Nicolas Bourriaud, Relational Aesthetics, 1998
Psychogeography
Merlin Coverley, 2010
Thomas Nail, A Tale of Two Crises: Migration and Terrorism after the Paris Attacks 2016
Grégoire Chamayou A Theory of the Drone
Hyperrobjects: Hyperobjects: Philosophy and Ecology After the End of the World (Posthumanities)
Vibrant Matter: A Political Ecology of Things Rebecca Jane Bennett
Sol Lewitt
Structures 1965-2006
2011
Edglelands
Paul Farley & Michael Symmons Roberts 2012
Sculpture and Touch by Peter Dent
The Art of Living
Edwina FitzPatrick 2009
Space Place and Gender
Doreen Massey, 1994
Articles:
The end is not nigh Books and Arts - American Power
An article in the Economist March 7th
Is the American Century Over ?
by Joseph Nye
The Tomb of the Unknown Craftsman,
Grayson Perry 2011
Film and video
London Babylon : Julien Temple
Landscapes for Art
Contemporary Sculpture Parks
Edited by Glenn Harper and Twylene Moyer
Isc Press 2008 Hamilton NJ USA
Notes:
Sol Lewitt
Structures 1965-2006
2011 Yale University Press New Haven and London ISBN 978-0-30017861-6
P 110
Jonathan Flatley : I’m really interested in the rhetoric of the machine, and in particular the sentence about « the idea becomes the machine that makes the art . » In a way that’s become the slogan fro conceptual art. It was interesting to notice that it was actually written over the typewritten text.
So Lewitt: “like an afterthought.”
JF: Right, like an afterthought. So I wonder if you had other thoughts about that notion, or where that rhetoric came from for you. For example, Warhol a few years earlier had that famous interview where he said, “I want to be a machine, I think everybody should be a machine and the reason I make art the way that I do is because I want to be machine-like.”
Pop art came out of the strand that originated with Duchamp and the readymade, where anything can be art if it’s thought of as art. But what I was doing-and other people-came from a different set of ideas that related more to classical art, through Russian constructivists and De Stijl, which had nothing to do with objects in the world the way pop art had.
…discussion continues to mention Norbert Wiener
SL: I think basically there was an ideological difference. On the other hand, I didn’t dislike pop art as much, especially Warhol or Oldenburg. They made very good art. It was just a different kind of idea; it came from a different source.
Rosalind Krauss once said that Lewitt’s work represents an “absurdist nominalism” while drawing an analogy with Samuel Beckett’s Molloy.
“Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.”
-Sol Lewitt 1978
“The artist cannot imagine his art,
and cannot perceive it until it is complete.
Sol LeWitt, “Sentences on Conceptual Art”
Invisible Vision Could Science learn from the Arts?
Sabine E. Wildefvuur
I'm a paragraph. Click here to add your own text and edit me. I’m a great place for you to tell a story and let your users know a little more about you.