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dc.identifier.citation, pp.365en_US
dc.description.abstractThis collection of essays deals with the issues that animated Conceptual art in the Anglophone world. It offers readers a wealth of new research on the earliest international exhibitions of Conceptual art, new interpretation of some of its most important practitioners, and a reconsideration of the relationship between conceptual art and the intellectual and social context of the 1960s and 1970s. Conceptual art was a loose collection of related practices that emerged worldwide during the 1960s and 1970s. It continues to be relevant to contemporary art and remains a lively topic of debate. The most striking features of conceptual art are its de-emphasis on the importance of the art object and its understanding of the role of language in shaping our knowledge of the world and our conception of art. Of special note are the contributions focusing on the explicitly social and political aspirations of this influential avant-garde artistic practice and the extensive introductory essays authored by Corris. This publication presents new historical and interpretive research by younger scholars on Conceptual art and provides a special focus on the social dimensions of Anglo-American art. There is a range of illustrative material, some appearing for the first time since the 1960s and 1970s. This research project was supported by a Small Research Grant from the Arts and Humanities Research Council; It has attracted several reviews; is considered a definitive source for higher education in art; portions have been reprinted; it has been cited by other researchers in the field; and was the subject of a conference hosted by the Courtauld Institute of Art Research Forum, London (Spring, 2004).en_US
dc.publisherCambridge University Pressen_US
dc.titleConceptual Art: Theory, Myth and Practiceen_US

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