Cambridge ; New York : Cambridge University Press, 1996.
Includes bibliographical references and index.
Part I. Beyond Formalism: 1. A methodology for American conceptualism-- 2. The situation of conceptual art-- 3. The return of Arthur R. Rose-- 4. Robert Barry's return to the visible-- Part II. Representing Content: 5. Hamish Fulton: the residue of vision/the opening of mind-- 6. Franz Erhard Walther and the question of pre-architectural space-- 7. The making of wit: Joseph Kosuth and the Freudian palimpsest-- 8. Venet's indeterminacy-- Part III. Politics and Ideology: 9. Hans Haacke: working from the inside out-- 10. Sherrie Levine: language games-- 11. The icon without the image: Exhibition by Muntadas-- 12. Who was Joseph Beuys?-- Part IV. Photographs, Books and Performance: 13. Mistaken documents: photography and conceptual art-- 14. Merle Laderman Ukeles: shaking off the material act-- 15. Pastel, juice and gunpowder: the Pico iconography of Ed Ruscha-- 16. Performance and spectacle in America.
(source: Nielsen Book Data)
Art into Ideas provides an overview of one of the most important and influential developments in American and European art over the past thirty years. Focusing on works by a range of international artists, including Joseph Kosuth, Hans Haacke, Sherrie Levine and Joseph Beuys, Robert Morgan defines and elucidates the premises of conceptual art. He examines its evolution, from its inception in the 1960s through the 1980s, relating the movement to historical and cultural contexts, as well as to important theoretical and critical issues that emerged during these decades. Defining three primary modes of representation that characterise conceptual art - the philosophical, the structural, and the systemic - Morgan then applies these concepts in analyses of a variety of media, including painting, photography, books, and performance. (source: Nielsen Book Data)