| dc.description.abstract | In this research I have focussed on the transatlantic art collective, Art and Language. This collective can be seen as a perfect example of the theoretical diversification in the second half of the twentieth century. They positioned themselves within the western artworld through their theoretical, formless art and, as analysed in this essay, their journal Art-Language. This journal was the vehicle for their continuing critique on different aspects of the world of art. Throughout the first decade of their existence, their critique remained the most important aspect of their movement. Although originating in the sphere of highly theoretical conceptual art, when faced with objections, critique and opinions towards their artworks, they found the need to position themselves within the artworld. Through their journal, they distinguished themselves from likeminded, though inferior, artists. This practice of distinction continued from the late-1960’s into the mid-1970’s, when the collective disintegrated under the mutual differences between its international members, leaving a mere total of three artists at its core.
In short, in this essay I have presented several aspects of the 1960s as a transitional period on the basis of an analysis of Art and Language. First of all, their theoretical, formless works of art were, especially in the 1960’s, new, unique, experimental and subversive. However, exactly the formlessness of their artworks resulted in a lack of attention from critics and public alike. The need to remain subversive and controversial is best noticed in the first issues of Art-Language. In these issues, Art and Language positioned itself as the true conceptual, theoretical sovereignty, which was to be taken into account when considering the conceptual movement as a whole. Likewise, their continuing objections against Clement Greenberg and Marcel Duchamp can be accounted for by the need to position themselves. Through the rejection of both Greenberg’s and Duchamp’s status as key figures in the world of art they drew attention to themselves. | |
