PostScript: Writing After Conceptual Art PDF
Preview PostScript: Writing After Conceptual Art
POSTSCRIPT: WRITING AFTER CONCEPTUAL ART This page intentionally left blank EDITED BY ANDREA ANDERSSON POSTSCRIP T: WRITING AF TER CONCEP TUAL ART UNIVERSITY OF TORONTO PRESS MUSEUM OF CONTEMPORARY ART − DENVER Toronto Buffalo London © University of Toronto Press 2018 Toronto Buffalo London utorontopress.com Printed in the U.S.A. ISBN 978-1-4426-4984-2 Printed on acid-free paper. Library and Archives Canada Cataloguing in Publication Postscript : writing after conceptual art / edited by Andrea Andersson. Includes bibliographical references. ISBN 978-1-4426-4984-2 (cloth) 1. Art and literature. 2. Literature, Experimental. 3. Conceptual art. 4. Conceptualism. 5.Written communication. I. Andersson, Andrea, editor II. Title. PN53.P67 2018 809'.93357 C2017-902742-5 This book has been published with the help of a grant from the Federation for the Humanities and Social Sciences, through the Awards to Scholarly Publications Program, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the Government of Ontario. Funded by the Financé par le Government gouvernement of Canada du Canada Contents Acknowledgments ix Preface xi NORA BURNETT ABRAMS “I, too, wondered …”: An Introduction to Conceptual Writing after Conceptual Art 3 ANDREA ANDERSSON The Conceptualist Turn: Wittgenstein and the New Writing 27 MARJORIE PERLOFF From “The Fate of Echo” (Introduction to Against Expression: An Anthology of Conceptual Writing) 41 CRAIG DWORKIN Was Ist Los 54 SETH PRICE Echo Ήχώ 63 VANESSA PLACE Sharon Hayes and Most People 73 RACHEL HAIDU What Do We Mean by Performance Writing? 86 CAROLINE BERGVALL Rescuing the Past: Repetition and Re-enactment in Jeremy Deller, Andrea Geyer, and Sharon Hayes 93 PATRICK GREANEY From Notes on Conceptualisms 108 ROBERT FITTERMAN AND VANESSA PLACE The Melancholy of Conceptualism 117 MICHAEL GOLSTON Untimely Models 129 LYTLE SHAW Indifferent Voices 135 PAUL ELLIMAN A Week of Blogs for the Poetry Foundation 141 KENNETH GOLDSMITH Give Them What They Want: Populist Rhetoric in Conceptual Art and Writing 152 BRIAN REED To Teach and Delight – A Few Precedents for an Art of Instruction 168 CATHLEEN CHAFFEE Semantic Analysis: The Art of Parsing Found Text 184 SARAH COOK Conceptual Computing and Digital Writing 197 NICK MONTFORT vi Poetry without Poets 211 DARREN WERSHLER Documents from “True Mirror” 221 DAVID REINFURT AND STUART BAILEY 233 From Materiality to Dematerialization and Back: Conceptual Writing in a Digital Age GWEN ALLEN Little Bastard: The Invention and Introduction of a New Word 243 RYAN GANDER WITH ALICE FISHER AND STUART BAILEY What Was Conceptual Writing? 260 NICK THURSTON The Bioinformatic Sublime: The Life of Data and the Data of Life in Conceptual Writing 270 PAUL STEPHENS Two Dots over a Vowel 290 CHRISTIAN BÖK Like in Valencia: On Translating Equivalence 303 MÓNICA DE LA TORRE Russian Lessons for Conceptual Writing 316 JACOB EDMOND Reading as Art 335 SIMON MORRIS AND THOMAS CAMPBELL Ambivalence of the Grid 342 LIZ KOTZ The Concrete, The Conceptual, and the Galáxias 358 ANTONIO SERGIO BESSA vii N.B. 373 SETH KIM-COHEN Plagiarism: A Response to Thomas Fink 381 TAN LIN Bibliography 387 Index 409 viii Acknowledgments This book begins, in every sense, with my most trusted mentors, and so do my thanks. I will always be indebted to Marjorie Perloff for her invitation and chal- lenge to enter a conversation about the interdisciplinary avant-g arde, and for her introduction to Craig Dworkin and Michael Golston, my most inspired and inspiring teachers and friends. My work will always be an admiring response to their own. As a collection of essays, this book attests to a long- running and spirited con- versation between friends and colleagues, deeply invested in cross- disciplinary scholarship and practice. I extend my thanks to all the contributors for their intellectual generosity. As an exhibition publication, this book is realized by a much wider net- work of individuals. First and foremost, I express my respect for and appre- ciation to the artists and writers who participated in the exhibition Postscript: Writing after Conceptual Art and to all those who built walls, shipped crates, and, broadly speaking, made place for the conversations that unfold here. In this sense, this book began as a proposal to Adam Lerner, director of the Museum of Contemporary Art Denver for an exhibition on the subject of Conceptual writing, and I am grateful for his enduring support, without which this proj- ect would not have been possible. I also extend my thanks to all of those who worked to realize it as a travelling exhibition at the Power Plant Gallery in Toronto and at the Eli and Edythe Broad Museum at Michigan State University. But most of all, I give thanks to Nora Burnett Abrams, my co- curator and my friend – long before we imagined this exhibition and long after its close. I am so appreciative for the guidance and commitment of our editors, Siobhan McMenemy, who began this project with me at the University of Toronto Press, and to Frances Mundy, who saw it through to its conclusion. Nick Thurston oversaw the creation of the index with erased reference locators. I remain filled with admiration for Bina Gogineni, Casey Shoop, Jenelle Troxelle, and Eugene Vydrin for never losing faith in the Free University.
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