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This article considers the complex relationship between early computer and Conceptual art in the late 1960s and early 1970s in the United States and Europe. It assesses a range of accounts that explain the simultaneous decline in art world support for computer art and growing institutional traction enjoyed by Conceptual art. The author argues that these accounts overlook a subtle but consequential difference in the aesthetic and ontological conditions of the two art forms. Comparative analysis of writings by computer and Conceptual artists and theorists ultimately shows that the relationship between the visible output and the non-visible code or algorithm in computer art is not akin to the relationship between materiality and immateriality in Conceptual art, as is oftentimes assumed. The paper suggests that historical accounts explaining the divergent trajectories of computer and Conceptual art address this difference to avoid oversimplifying computer art's aesthetic and ontological conditions. [ABSTRACT FROM AUTHOR]

Open prototyping is presented as a conceptual and methodological framework for artistic practice and public participation that bridges the space between technology and society and contributes to city and technology innovation. Such practices can make ideas about the future tangible and realize different configurations of infrastructures, data, situations and people. Many works here are boundary objects, taking place in grey zones between disciplines and sectors. The article may thus deepen understanding at the fault lines between art and innovation and ways in which art can shape the direction of technology development. [ABSTRACT FROM AUTHOR]

The public video project The Public Library includes the performance of writing field notes and of choreographed dance sequences — which together serve as an ethnographic prompt for discussions about city life in northwestern Canada. The growing presence of crystal methamphetamine in sidewalk life and in the lives of First Nations persons is part of the discussion. [ABSTRACT FROM AUTHOR]

The article discusses about magazine pieces that have received less critical attention than Schema or Domain including George Maciunas’s "Grand Frauds of Architecture," LeWitt’s "Ziggurats," and Tony Smith’s contribution to the 1967 double issue of the periodical "Aspen" edited by Brian O'Doherty. It mentions about histories of both minimalism and conceptual art.

This paper discusses the process of recognition of early computer art not as iconic but as a purely intellectual or conceptual form as it took place during a debate on the pages of PAGE, initiated by Frieder Nake's "Statement for PAGE" and his seminal text "There Should Be No Computer Art." [ABSTRACT FROM AUTHOR]

The article explores the emergence and development of performative art practices in Israel in the 1960s-1970s. Topics discussed include spread of the ideological and aesthetic wings of the Ofakim Hadashim painters over Israeli art through the 1950s and most of the 1960s, manifestations of conceptual art which gained more prominence in the art historiography of that period, and concept of body art and of the self as a source for artistic creation in the Israeli art discourse.

The article explores aesthetics, theories, and examples of conceptual art in the twentieth century. Topics discussed include the conceptual concern enacted by the human body in the performance art "Time Clock Piece," by Tehching Hsieh, the link between the conceptual body featured in art to various social movements, and the interpretation of the 1966 interactive art installation "Hon: A Cathedral," by Niki de Saint Phalle.

The article talks about the conceptual art of California and the use of deadpan in it. Topics discussed include the portrayal of facial expressions in comics and its impassivity; the variations on the format of Conceptual art created by artists such as William Wegman, Allen Ruppersberg, and Martha Rosler; and the photographic works of these artists. Also mentioned are the art "Ingres and Other Parables" by John Baldessari, the installation art by William Leavitt, and the works of artist Martha Rosler in conceptual art.

The article offers information on artist Bruce Nauman, his photographic artwork "Burning Small Fires," and conceptual art. Topics discussed include artist Edward Ruscha and his photographs, the use of stagecraft in his works by Nauman, and the use of book-burning in art by these artists. Also mentioned are the political aspects of the artwork produced by Nauman and Ruscha, the antiwar sentiment in the U.S. against the Vietnam War in the 1960s, and the use of neon signs in his art by Nauman focusing on war.

The article offers information on the relationship between conceptual art and pragmatics. Topics discussed include conceptual artist Adrian Piper's work titled "Catalysis Series;" efforts taken by artists Vito Acconci and Martha Wilson to read the social theory; and Piper and her cohort dissented with the orthodox strand of conceptual art for proponents of pragmatics broke from the central assumptions of social theory. It also mention about the works of artist Harvey Sacks and Lee Lozano.

An interview with American conceptual artist Robert Barry is presented. Topics covered include the influence of Abstract Expressionism on his art, his studies at Hunter College in the 1950s and 1960s, and the relationship between conceptual art and minimalism. Also mentioned are the radical undertones of Barry's art, the use of the art gallery as a medium, and Barry's view of language as a radical redefinition of the aesthetic experience.

The article discusses similarity between artist François Morellet's texts "4 Double Grids" with the book "Arcs, from corners & sides, circles, & grids and all their combinations" by Sol LeWitt. It informs that Morellet mentioned Minimal and Conceptual art and implied philosopher Alexandre Koyré's verbatim of conceptual art. It mentions Morellet's art works such as "Red on Light Red, Red, Dark Red," "Painting," "16 Squares," and "Random Distribution of 2 Squares Using the Numbers 31-41-59-26-53-58-97-93."

The article presents a recollection by the author of curating a happening developed by the late conceptual artist Michael Asher during the 74th American Exhibition at the Art Institute of Chicago, Illinois, from June 12-August 1, 1982, along with an appreciation of Asher's work in general and the problem of his works becoming permanent acquisitions in museum collections.

The article discusses the work of the American photographer Allan Sekula. The author focuses on Sekula's early work, particularly his engagement with documentary practices in which he challenged existing conventions of conceptual art. The author also argues that Sekula's work involved an attempt to recover two aspects of photographic history: the centrality of photography to the pre–World War II avantgardes, particularly the politicized montages of photographer John Heartfield, and the tradition of 20th-century realism.

The authors discuss the development of self-organizing artworks. Context Machines are a family of site-specific, conceptual and generative artworks that capture photographic images from their environment in the construction of creative compositions. Resurfacing produces interactive temporal landscapes from images captured over time. Memory Association Machine's free-associative process, modeled after Gabora's theory of creativity, traverses a self-organized map of images collected from the environment. In the Dreaming Machine installations, these free associations are framed as dreams. The self-organizing map is applied to thousands of images in Self- Organized Landscapes--highresolution collages intended for print reproduction. Context Machines invite us to reconsider what is essentially human and to look at ourselves, and our world, anew. [ABSTRACT FROM AUTHOR]

An essay is presented on the work of post-minimalist and conceptual artists André Cadere. It offers a history of Cadere's work and examines an incident at Documenta 5 at the Museum Fridericianum in Kassel, Germany in which Cadere spray painted an exhibition building in an act of defiance against director Harald Szeemann. It goes on to talk about Cadere's other work such as the production of wooden dowels which he described as portable paintings and other acts of defiance.

The article discusses the emergence of text-based conceptual artworks from the mid-1960s to the mid-1970s. More specifically, the author analyzes the design elements of these texts, particularly their typography and layout. The author notes that a shift occurred in the conceptual art of this period from looking at visual objects to reading texts as part of the audience experience. It is noted that this shift represents an important period in the history of graphic design. The author suggests that text-based conceptual artworks laid the groundwork for the typographic debates among graphic designers that took place during the 1970s and 1980s. The work of various conceptual artists, including Vito Acconci, Dan Graham and Lawrence Weiner, is discussed.

This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art--specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s-1970s conceptual art, 1970s-1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/ Blanchotnian "nonpower" within conceptual art and advocates Ziarek's notion of "powerfree" artistic practices within new media and transgenic art. [ABSTRACT FROM AUTHOR]

Conceptual art presents an important challenge for neuroaesthetics. Such art helps to stimulate complex psychological events--beyond the perceptual responses usually studied by neuroscience. If science is to engage meaningfully with art, scientists need to address the conceptual content of our experience of many different kinds of art. As a test case, this essay suggests that neuroaesthetics should come to terms with works such as Marcel Duchamp's Bôite-en-valise (1935-1941), which is representative of many artwork and art exhibitions organized into composite parts or groups of works. The essay shows that, typically, art stimulates a network of conceptual relations rather than merely perceptions of the visible aspects of single artworks. [ABSTRACT FROM AUTHOR]

The article discusses American artist Mike Kelley. The author recalls his personal experiences with Kelley and examines the affect of Kelley's childhood in Detroit, Michigan on his work, as well as the use of color and the depiction of the anus in his work. The author describes the theme of death in Kelley's work and traces his career from the 1970s-2000s, including his stuffed animal works and video works as well as works inspired by modernist, avant-garde, minimalist, and conceptualist forms. The author also discusses memorials honoring Kelley's death, including one in Highland Park, Michigan and a concert in Los Angeles, California.

This essay considers models of political critique in contemporary art to recapture the role of the imaginary and the fictional. It differentiates critical models of relations between knowledge, politics and communality, as exemplified by the Atlas Group project and artist Pierre Huyghe, from models such as Conceptual art and Institutional Critique, exemplified by German installation artist Hans Haacke. It seeks to reintegrate aesthetics into 21st century art criticism.

This article focuses on the subject of the works of Italian artist Giovanni Anselmo. In the 1960s, Anselmo adopted the formulation of entropy's connection to gravity as the aesthetic strategy of his artistic works, particularly sculpture. According to the author, Anselmo's preoccupation of luminosity and verticality have been the basis of some of his works. It highlights how Anselmo linked the concept of Arte Povera to his designs. It offers information on the themes of Anselmo's monochrome sculptures including "Respiro," "The Accursed Share" and "Invisible."

This article focuses on the concept of the artistic work of Italian artist Alighiero Boetti. It states that the early works of Boetti depict the concept of pre- or non-artistic forms of self-consciousness and materiality. The author explores the political aspect of Boetti's three-dimensional works from 1966 to 1969. It highlights the views of several critics concerning the work of Boetti including Tommaso Trini, Daniela Palazzoli and Henry Martin. It outlines the theorization of Germano Celant, innovator of the art movement Arte Povera in Italy, regarding Boetti's essence of art.

This article focuses on the subjects of the works of Turinese artist Michelangelo Pistoletto. In the 1960s, Pistoletto had been hailed as member of Arte Povera, a movement of Italian artists pioneered by Germano Celant. Pistoletto's works including paintings, photography and collage that seemed to oppose Celant's description of Arte Povera, which depicts poor objects, natural forms and energetic forces. It stated that the figures in Pistoletto's mirror paintings show individuals who move, gesture and make decisions in public spaces. According to the author, Pistoletto's painting techniques presents a similarly paradoxical function.

This article examines the art technique used by artist Dorothea Rockburne in her art work "Intersection." Rockburne describes the art work as a combination of her previous works "Group" and "Disjunction." It is a sheet of plastic attached to the wall of the art gallery and rolled down onto the floor where a piece of paper and a rectangle cardboard were placed on top of it. According to Mel Bochner who evaluates the art work, Rockburne uses Set Theory in creating it. The author explains that Rockburne tends to base her works on two art-historical narratives that include assemblage and performance and conceptual art based on systems.

The article focuses on Hyunki Park, an artist who was known for Korean video art. It is described that Park's creative development evolved in a parallel way to the dialectical forms and strategic sitings often associated with minimalism, conceptual art, and arte povera. His early video works from his Water series where he placed a single mirror in the Naksong River in Taegu, can be compared to Robert Smitson's early mirror work. The Perspective Series by Dutch conceptualist Jan Dibbets is likewise related to Park's mirror.

This article examines the social implications of the way artist Ray Johnson exploited the international postal system to align his artistic productions. By exploring the exchanges Johnson had had with the recipients of his artworks, the author attempts to understand his construction or production of sociality. In conclusion, the author asserts that Johnson's postal performance is not just an artistic action within the social field, but a work on the perfomativity of the social itself.

This essay is about Matthew Buckingham's work. It explains that the essay makes an individual aware of the ways in which historical narratives are constructed. It offers sketch on an art historical narrative that suggests the relative absence of historical representation in abstraction, popular and conceptual art and appropriation.

Digital techniques, primarily software appropriated from the entertainment and industrial design sectors, have destabilized the essential status of the architectural image-object formulated in classical philosophical thought. Western European art experienced a similar crisis when conceptual art movements of the 1960s challenged Clement Greenberg's notion of medium specificity. The author examines work by conceptual artists whose theories posit alternative views of spatial and social relations based on open-ended systems and indeterminacy. An examination of the relationship between materiality and abstraction as exemplified in new media's reformulation of architectural design processes indicates how a more inclusive and mutable profession has been realized. [ABSTRACT FROM AUTHOR]

The article reviews the exhibitions "African Art Now Masterpieces From the Jean Pigozzi Collection," at the Museum of Fine Arts in Houston, Texas from January 29, 2005-June 5, 2005 and "Double Consciousness Black Conceptual Art since 1970," at the Contemporary Arts Museum in Houston, Texas from January 22, 2005-April 15, 2005.

The relationships between art and technology have a long history in Argentine art. Experiments begun in the 1940s with light and movement were the precedents to the many trends developed during the 1960s, including kinetic art, video art and incursions into expanded cinema. Mechanical and electronic devices, light, machines, new materials, photographic and cinematographic projections, sound systems, video and computers came to appear very often in the works and reflections of young artists, stimulated by a favorable political climate and a fluid dialogue with the international art circuit. [ABSTRACT FROM AUTHOR]

Focuses on the emergence of conceptual art. Historical context on the use of language in conceptual artworks; Comparison of the artworks "Three Chair Events" by George Brecht and "One and Three Chairs," by Joseph Kosuth; Characteristics of Kosuth's conceptual art.

Focuses on the conceptual artworks of U.S. artist Andrea Fraser. Analysis of the film "Soldadera (Scenes From Un banquete en Tetlapayac)" by Fraser; Relationship between avant-garde cinema and leftist politics; Role of aesthetics in cultural criticism; Background on the works of several conceptual artists, including Joseph Kosuth and Marcel Duchamp.

Focuses on the work of conceptual artist Chris Bors. Primary influences during adolescent growth during the 1980s; Impact of the period on the generation's ideology of self-importance and reinvention; Belief on all aspects of life as cross advertising; Existence of the entertainment value in Bor's art work; Experience of Bor in the medium of painting, sculpture, photography and performative video.

Focuses on an audio-visual project which attempted to investigate the resurgent interest in conceptual art. Method used in the project; Questions asked from participants; Several artists who participated in the project; Excerpts of the project.

The article discusses the response by Benjamin Buchloh regarding the replies of Joseph Kosuth and Seth Siegelaub to his article about conceptual art. According to Buchloh, the reason for his reply is grounded in the spirit of debate, with the goals of answering historical and theoretical questions within the complex dynamics of conceptual art. He says that there were no statements contained in his original essay that would qualify as accusatory or polemic directed at Joseph Kosuth or his work. He believes that Kosuth's reaction to his proposal to look at the history of conceptual art from a critical distance was unnecessary.

The article presents a reprint of the replies to the article entitled "Conceptual Art 1962-1969: From the Aesthetics of Administration to the Critique of Institutions," by Benjamin Buchloh. One of the reply regarded Benjamin Buchloh's article carries a moralism that does not in anyway reflect professional ethic. The reply suggested that Benjamin Buchloh did not read the book "Art after Philosophy," well on account of his alleged poor understanding of conceptual art.

The article focuses on Marcel Duchamp's effect in conceptual art. The author describes Duchamp's art concept that represented human desire, body parts or contact through "desiring-machines." Works that represented this concept were examined, such as the "bachelor machine," a term coined by Michel Carrouges, who depicted penal colony torture through a sketch of a tattooing machine. It also discussed other art forms that depicted Duchamp's desiring-machines, such as glass cases that house antiquities that became museum-machines, and the commodity series of shop windows that invoke desire for the commodities displayed.

The article reports on the issues of concern attending conceptual art within the period 1962-1969 with emphasis on the administration of studies in art aesthetics as well as the status of art institutions. According to the author, the two decades spanning the history of conceptual art allows art patrons and scholars alike to appreciate the theories as well as concepts inherent in conceptual art. As a matter of fact, the time element allows for a better contemplation on the developments that occurred within the period. The significance of the two decades of observable history also allows the clarification of varied issues that had transpired in the course of the history of conceptual art.

The article presents information on the works of Hans Haacke, a German conceptual artist, in terms of the role of art as a social catalyst. It is stated that the work of Haacke is like a cleanser washing away the mask of culture which has been understood as particularly useful for its new marketing strategy. It is also stated that in each of the works of Haacke, there exists a similarity which is termed as the antidote. It is further stated that Haacke for the sake of his art has set forth a task to struggle against metonymy, against the fraudulent travesty both of history as nature and of the agonistic structure of society under the guise of humanist discourse.

The article focuses on the photographic art of Georges Bataille. His works concentrates on the concept of thermodynamics. Bataille was inspired by the principle behind the pressure cooker in which excessive amounts of energy build-up will cause the steam to escape in the safety valve. This model was formulated in his book "The Notion of Expenditure" and was further explained in "The Accursed Share." Being an optimistic person, he was able to incorporate in his art his idea and awareness that humanity will condemn itself of the unnecessary production of energy causing wastage and eventually leading to failure.

The article presents an interview with Rosalind Krauss, Alexander Alberro, Thierry de Duve, Martha Buskirk, and Yve-Alain Bois. Alexander Alberro comments on what Coceptual art is using a theoretical model. Rosalind Krauss argues that there is a broad and a narrow view of Conceptual art where art wants to be its own theory and sustain itself on that theory. Thierry De Duve believes that the issue of Conceptual art revolves around the question of establishing a readymade as an art.

The author provides a short description of the first video art-works of the group SKB "Prometei" (Kazan, USSR) as well as several artworks created by himself with the help of his colleagues during the period 1990-1991. [ABSTRACT FROM AUTHOR]

Art is discussed as the way valuable moments of human consciousness are captured in media so that we can relive these moments as vividly as if they were happening now. Our first exposure to a work of art begins to establish a general memory of our consciousness of it. The next time we experience that work of art we compare our immediate consciousness of it with our residual memory of it. The two conditions that set art apart from other experiences in our consciousness are, first, its vividness, which is a function of the success of the artist using a given medium; and, second, its importance to us, which results from the power of the artist to establish valuable, creative insights into the human condition. [ABSTRACT FROM AUTHOR]

Desert Sun/Desert Moon and the SKY ART Manifesto embody environmental sky art and future sky art projections as interpreted by the SKY ART Conferences, a series of four international conferences spanning a 5-year period from 1981 to 1986. Each SKY ART Conference brought together artists as well as scientists, engineers and public officials from many countries and included exhibitions, lectures, panels, events, installations and a catalogue. These efforts constituted a determined attempt to document the emerging field of sky art and to discover and project forms of art in space. Desert Sun/Desert Moon was a series of temporary events and installations utilizing the temporal landscape of sky and space to evoke at the same time mythic and immaterial dimensions of that sky and space. Complementing these events, the SKY ART Manifesto is a working document drafted at the '86 SKY ART Conference. It offers artistic commitment to the future of art in space as an integral part of international exploration. The author describes Desert Sun/Desert Moon as it has emerged from the SKY ART Conferences and then presents the text of the SKY ART Manifesto. She comments on the importance of each regarding the practice and potential of sky art. [ABSTRACT FROM AUTHOR]

Visible language, the visual medium of language expression, is becoming more diagrammatic, dynamic, and multi-dimensional. After reviewing the history of visible languages, the author examines the incorporation of these new tendencies in his own works of concrete poetry, computer graphics, and conceptual art. [ABSTRACT FROM AUTHOR]

Otto Piene discusses his projects with new media as well as the history and tradition of techological art. Topics range from archaic megalithic structures to large-scale, outdoor contemporary works articulated and enhanced by electronic forms of expression. Piene discusses his concept of 'sky art' and examines his attempts to expand the physical proportions of art and to communicate publicly with a large audience. Other issues raised include the beneficial effects of integrating art and science, the need to reevaluate and update art education and the importance of developing new forms of technological art that will improve communication and more effectively express human concerns. [ABSTRACT FROM AUTHOR]

The article offers the author's personal recollections about following the work of American conceptual artist Michael Asher and ultimately collaborating with him, particularly on works that questioned and subverted the role of art museums in art.

This article summarizes the process and outcome of the Future Emerging Art and Technology residency during which new media artists Špela Petrič and Miha Turšič undertook the challenge of understanding and manifesting the artistic potential of high-performance computing (HPC). As a result of the collaboration with FET HPC the artists developed a concept liberated from complex computational technicity to underscore the (un)intentional construction of meaning by algorithmic agencies. The performance presents a congress of actors sensing, interrogating and interrupting each other, thereby producing an excess of relation, interpretation and translation. The heterogeneous congress performs an expulsion of imposed (anthropogenic) meaning, substituted by authentic, autogenic sense and non-sense. [ABSTRACT FROM AUTHOR]