Exhibitions: Materializing 'Six Years': Lucy R. Lippard and the Emergence of Conceptual Art

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Chair

An Egyptian carpenter manufactured this chair using wooden mortises and tenons (tongue-and-groove joints) and pins called dowels. Many of th...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Head of a Male Figure

    The slight smile, the soft facial features, and the downward-pointing viper on the brow (where there would normally be a rearing cobra)of so...

     
    Want to add this object to a set? Please join the Posse, or log in.

    close

    DIG_E_2012_Six_Years_01_PS4.jpg DIG_E_2012_Six_Years_02_PS4.jpg DIG_E_2012_Six_Years_03_PS4.jpg DIG_E_2012_Six_Years_04_PS4.jpg DIG_E_2012_Six_Years_05_PS4.jpg DIG_E_2012_Six_Years_06_PS4.jpg DIG_E_2012_Six_Years_07_PS4.jpg DIG_E_2012_Six_Years_08_PS4.jpg DIG_E_2012_Six_Years_09_PS4.jpg DIG_E_2012_Six_Years_10_PS4.jpg DIG_E_2012_Six_Years_11_PS4.jpg DIG_E_2012_Six_Years_12_PS4.jpg DIG_E_2012_Six_Years_13_PS4.jpg DIG_E_2012_Six_Years_14_PS4.jpg DIG_E_2012_Six_Years_15_PS4.jpg DIG_E_2012_Six_Years_16_PS4.jpg DIG_E_2012_Six_Years_17_PS4.jpg DIG_E_2012_Six_Years_18_PS4.jpg DIG_E_2012_Six_Years_19_PS4.jpg DIG_E_2012_Six_Years_20_PS4.jpg DIG_E_2012_Six_Years_21_PS4.jpg DIG_E_2012_Six_Years_22_PS4.jpg DIG_E_2012_Six_Years_23_PS4.jpg DIG_E_2012_Six_Years_24_PS4.jpg DIG_E_2012_Six_Years_25_PS4.jpg DIG_E_2012_Six_Years_26_PS4.jpg DIG_E_2012_Six_Years_27_PS4.jpg DIG_E_2012_Six_Years_28_PS4.jpg DIG_E_2012_Six_Years_29_PS4.jpg DIG_E_2012_Six_Years_30_PS4.jpg DIG_E_2012_Six_Years_31_PS4.jpg

    Materializing 'Six Years': Lucy R. Lippard and the Emergence of Conceptual Art

    Press Releases ?
    • April 1, 2012: Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art, the first exhibition to explore the impact of the feminist writer, curator, and activist Lucy R. Lippard on the Conceptual art movement, will be on view at the Brooklyn Museum September 14, 2012, through February 3, 2013. Using Lippard’s influential 1973 book Six Years, which catalogued and described the emergence of Conceptual art in the late sixties and early seventies, as a critical and chronological framework, the exhibition illustrates the dynamics of Lippard’s key role in redefining how exhibitions were created, viewed, and critiqued during that era of transition.

      The full title of Lippard’s now-classic book, which drew on her personal relationships with artists, is seventy-nine words long: Six Years: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries; consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia and Asia (with occasional political overtones). Through what appeared to be an objective chronology of events, exhibitions, writings, and ideas, Six Years presented a remarkable catalogue of groundbreaking work by young artists challenging the status quo of the art world.

      The exhibition, which will include some 173 works, will be arranged chronologically, with sections focusing on each of the years covered in Lippard’s landmark book, along with a concluding section exploring the relationship between Conceptual and feminist art.

      1966.
      This section highlights works from Lippard’s landmark exhibition Eccentric Abstraction, including sculptures by Eva Hesse, Louise Bourgeois, and Alice Adams, alongside original gallery announcements and installation photographs. It traces the evolution of some artists toward transient, performance projects and the increasing importance of the printed word. It also documents key works such as Robert Morris’s outdoor intervention Steam Cloud (1966), Bruce Nauman’s rarely seen film Fishing for Asian Carp (1966) and John Latham’s Art and Culture (1966–69).
      1967. The section reflects the growing internationalism of Conceptual art with work by artists including the Canadians Michael Snow and Christine Kozlov and European collectives such as Art & Language and Buren, Mosset, Parmentier, and Torino (BMPT). Also explored here is the growing importance of the periodical as a means of distribution and an alternate site of display as well as investigations into the production of meaning through works such as the collective Art & Language’s The Air Conditioning Show, featuring an empty gallery with temperature-controlled air as its content.
      1968. This section shows how American artists’ challenge to institutions and definitions of art became more closely aligned with issues surrounding opposition to the Vietnam War. Works include Hans Haacke’s Live Random Airborne System (1965-68), along with works by the Latin American artists Graciela Carneval and the Rosario Group that made political art in covert ways, for their own safety, while working under a dictatorship.
      1969. This section traces how the organizing of exhibitions underwent major changes as the emphasis on text and the documentation of ephemeral occurrences became primary means of art-making. Lippard launched a multi-year curatorial project known as the “numbers” shows, the titles of which were taken from the population figure of the city where each appeared. The exhibitions featured works primarily produced from instructions that participating artists provided to Lippard on index cards, which became the exhibition catalogues. Examples will be included along with reconstructions of some projects; for example, a plywood work by Richard Serra along with his instruction card and photographic documentation of its second installation, in Vancouver.
      1970. This section highlights Lippard’s involvement with the Art Workers’ Coalition and also continues to focus on her portable exhibitions-as-instructions, 955,000 in Vancouver and 2,972,543 in Buenos Aires, with documentary photographs, catalogue cards, and selected works from each exhibition. Catalogues from other experimental exhibitions throughout the world will also be included.
      1971. This section explores the forward trajectory of Conceptual art, as idealism gave way to pessimism in the 1970s, with some artists continuing activist politics through their work, as exemplified by the Guerrilla Art Action Group, while others, like William Wegman, focused on performance, as in videos such as his Spit Sandwich. Women Conceptualists became more prevalent and Lippard became more committed to recognizing the work of women and anticipating feminist art as the next major movement—one in which she would become a defining voice.

      The exhibition has been organized by Catherine Morris, curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, and Vincent Bonin, a Montreal-based independent curator and writer. It will be accompanied by a fully illustrated catalogue, with a preface by Lucy R. Lippard and essays by the co-curators as well as Julia Bryan-Wilson, associate professor of art history at UC Berkeley. One of the first publications to explore the influence of Lippard’s thinking on the Conceptual art movement, it is being co-published by the Brooklyn Museum and the M.I.T. Press.

      Lucy R. Lippard is the author of twenty-one books on contemporary art, politics, place, and culture, most recently Down Country: The Tano of the Galisteo Basin 1250–1782 (2010); On the Beaten Track: Tourism, Art and Place (1999); and The Lure of the Local: Senses of Place in a Multicentered Society (1997). She has curated more than fifty exhibitions and has participated in the founding of many alternative spaces and visual art and political collectives. Her achievements have been recognized with numerous awards and grants and eight honorary degrees. She lives in Galisteo, New Mexico.

      Press Area of Website View Original

    advanced 107,063 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."


    Recently Tagged Exhibitions

    Warning: Invalid argument supplied for foreach() in /home/www/default/views/opencollection/_tags_list.php on line 15

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.


    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.