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The year 1969 was a memorable year in contemporary art. A number of art exhibitions, proclaimed ‘new-art’, were held both in Europe and in the United States. In particular, the traveling show 《when Attitudes Become Form》, directed by Harald Szeemann of Bern’s Kunsthalle, promoted the new art throughout Europe. The exhibition was successful in providing a new way of presenting art works, utilizing space both in and out side of the museum, and insinuated the new style as the answer for the future. 《when Attitudes》 was generally regarded as a promotion of conceptual art. However, the way in which this exhibition was associated with conceptual artists is not dear. Rather, it was associated with the trend of ‘site-specific’ art with various materials.
Two thirds of the artists of the show came from the United States, and they were basically involved in creating objective art exploring minimized contents and forms. Among them, Robert Morris, the author of “Anti-form” and the curator of the show of the same name in 1968 at Leo Castelli, was the leading artist. He and his friends had just made a move from minimal art utilizing industrial materials, such as steel, aluminum, plywood, to postminimal attempting a-formal art work, undoing the history-long illusion. They examined very radical, raw materials, such as string, rope, melted lead, felt, aspalt, air, earth, and many more. All of these presented changeable, temporary, non-durable form and it surely helped getting across a new picture of making and receiving art.
Among them, Morris, Nauman, Bollinger, Sonnier, Ryman, Hess, Andres, Ferre, and more participated in other avant-garde exhibitions, such as 《Anti-illusion: Process, Materials》. The exhibition was held in 1969, at the Whitney Museum of American art, owned by Philip Morris, in 1969, and the show focused on the new factors of art-making, such as real time, real site, real materials, and real experience. Illusion was broken down by the choice of non-familiar materials in space with real time.
However, art works still had the forms and it took one more year to bring about a blossoming of conceptual art, which replaced concrete and fixed pieces with photographs and docu28ments. 《Information》, curated by Kynaston Mcshine, held at the Museum of Modern Art in 1970, NY is one of those examples. In the show, most of the artist exhibited their works either in photos, documents or proposals. 《When Attitudes Become Form》 certainly helped to initiate the movement of this non-substantial art exhibition, yet does not reach that ultimate goal.
Two thirds of the artists of the show came from the United States, and they were basically involved in creating objective art exploring minimized contents and forms. Among them, Robert Morris, the author of “Anti-form” and the curator of the show of the same name in 1968 at Leo Castelli, was the leading artist. He and his friends had just made a move from minimal art utilizing industrial materials, such as steel, aluminum, plywood, to postminimal attempting a-formal art work, undoing the history-long illusion. They examined very radical, raw materials, such as string, rope, melted lead, felt, aspalt, air, earth, and many more. All of these presented changeable, temporary, non-durable form and it surely helped getting across a new picture of making and receiving art.
Among them, Morris, Nauman, Bollinger, Sonnier, Ryman, Hess, Andres, Ferre, and more participated in other avant-garde exhibitions, such as 《Anti-illusion: Process, Materials》. The exhibition was held in 1969, at the Whitney Museum of American art, owned by Philip Morris, in 1969, and the show focused on the new factors of art-making, such as real time, real site, real materials, and real experience. Illusion was broken down by the choice of non-familiar materials in space with real time.
However, art works still had the forms and it took one more year to bring about a blossoming of conceptual art, which replaced concrete and fixed pieces with photographs and docu28ments. 《Information》, curated by Kynaston Mcshine, held at the Museum of Modern Art in 1970, NY is one of those examples. In the show, most of the artist exhibited their works either in photos, documents or proposals. 《When Attitudes Become Form》 certainly helped to initiate the movement of this non-substantial art exhibition, yet does not reach that ultimate goal.
목차
1. 《W》 전과 새로운 미술
2. 《W》 전과 미술의 개념화: 해리슨과 역사화
3. 《W》 전의 구성과 작가들
4. 개념미술과 새로운 미술 사이
5. 미니멀아트 이후: 비환영 미술과 물성의 확대
6. 남은 문제들
참고문헌
Abstract
「《When Attitudes Become Form》, 1969년 아방가르드 미술의 집결장」에 대한 질의(전혜숙)
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