Art & Language

Art & Language is a conceptual artists' collaboration that has undergone many changes since it was created in the late 1960s. The group was founded by artists who shared a common desire to combine intellectual ideas and concerns with the creation of art. The first issue of the group's journal, Art-Language, was published in November 1969 in Chipping Norton in England, and was an important influence on conceptual art in the United States and the United Kingdom.[1]

Scratched photograph of the cover of Art-Language, Vol.3 No.1, 1974.

First years

The Art & Language group was founded around 1967 in the United Kingdom by Terry Atkinson (b. 1939), David Bainbridge (b. 1941), Michael Baldwin (b. 1945) and Harold Hurrell (b. 1940).[2] These four artists began their collaboration around 1966 while they were art teachers in Coventry. The name of the group was derived from their journal, Art-Language The Journal of conceptual art, originally created as a work conversation in 1966. The group was critical of what was considered mainstream modern art practices at the time. In their work conversations, they created conceptual art as part of their discussions.[3]

Between 1968 and 1982, the group grew to nearly fifty people. Among the first to join were critic and art historian, Charles Harrison, and artist Mel Ramsden.[4] In the early 1970s, individuals including Ian Burn, Michael Corris, Preston Heller, Graham Howard, Joseph Kosuth, Andrew Menard, and Terry Smith joined the group. Two collaborators from Coventry, Philip Pilkington and David Rushton, followed. The relative degree of anonymity held within the group continues to have historical significance in the art community. Due to an uncertainty of the exact member lists, it is hard to know unequivocally not only who all of the contributors were but also what their exact contributions were.

The first issue of Art-Language The Journal of conceptual art[5](Volume 1, Number 1, May 1969) is subtitled The Journal of Conceptual Art. By the second issue (Volume 1, Number 2, February 1970), it became clear that there were conceptual art pieces and conceptual artists for whom and to whom the journal did not speak. In order to better encompass the purpose of the journal, the title was abandoned. Art-Language had, however, brought to light the beginning of a new art movement. It was the first imprint to identify a public entity called Conceptual art. The journal was the first of its kind to serve the theoretical and conversational interests of a community of artists and critics, who were also its producers and users. While that community was far from a unanimous agreement as to how to define the nature of conceptual art, the editors and most of its historic contributors shared similar opinions about other art movements. Conceptual art was critical of modernism for its bureaucracy and its historicism, and of minimalism for its philosophical conservatism. The practice of conceptual art, especially in its early years of origin, was primarily based on theory, and its form, predominately textual.

As the distribution of the journal and the teaching practices of the editors and others contributors expanded, the conversation grew to include more people. In England, by 1971, artists and critics including Charles Harrison, Philip Pilkington, David Rushton, Lynn Lemaster, Sandra Harrison, Graham Howard and Paul Wood had joined. Around the same time in New York, Michael Corris joined, followed by Paula Ramsden, Mayo Thompson, Christine Kozlov, Preston Heller, Andrew Menard and Kathryn Bigelow.

The name "Art & Language" remained precarious due to the various interpretations of both the many pieces of art and the purpose of the group. Its significance, or instrumentality, varied from person to person, alliance to alliance, discourse to discourse, and from those in New York who produced The Fox (1974–1976), for example, to those engaged in music projects and those who continued the Journal's edition. There was disagreement among members, and by 1976, there was a growing sense of divide that eventually led to competing individualities and varied concerns.

Throughout the 1970s, Art & Language dealt with questions about art production and attempted a shift from conventional "nonlinguistic" forms of art, such as painting and sculpture, to more theoretically text-based works. The group often took argumentative positions against such prevailing views of critics like Clement Greenberg and Michael Fried.[6] The Art & Language group that exhibited in the international Documenta 5 exhibitions of 1972 included Atkinson, Bainbridge, Baldwin, Hurrell, Pilkington, Rushton, and Joseph Kosuth, the American editor of Art-Language.[7] The work consisted of a filing system of material published and circulated by Art & Language members.[8]

New York Art and Language

Burn and Ramsden co-founded The Society for Theoretical Art and Analysis in New York in the late 1960s. They joined Art & Language in 1970–71.[9] New York Art & Language became fragmented after 1975 because of disagreements concerning principles of collaboration.[10] Karl Beveridge and Carol Condé, who had been peripheral members of the group in New York, returned to Canada where they worked with trade unions and community groups. In 1977, Ian Burn returned to Australia and Mel Ramsden to the United Kingdom.

Art & Language, Untitled Painting 1965. The Tate Modern Collection.

Late 1970s

By the end of the 1970s, the group was essentially reduced to Baldwin, Harrison, and Ramsden with the occasional participation of Mayo Thompson and his group Red Crayola.[11][12] The political analysis and development within the group resulted in several members leaving the group to work in more activist-oriented political occupations.[13] Ian Burn returned to Australia, joining Ian Milliss, a conceptual artist who had begun work with trade unions in the early 1970s, in becoming active in Union Media Services, a design studio for social and community initiatives and the development of trade unions.[14][15] Other members from the United Kingdom drifted off into a variety of creative, academic and sometimes "politicized" activities.

At the beginning of the 1970s, there were about thirty members. The Art & Language group emphasized the use of language on the theory that language is the basis from which ideas and concepts are built. Their philosophy was that language permits index words which appear, disappear, and for some even persist, thus allowing viewers and artists alike to analyze the evolution of a word through the proposal of different definitions.

Selected works

List of works [16][17]
Year Title
1965
  • Mirror Piece
  • Time Drawings
  • Three Suprematist Squares
  • Crane Notes
  • Text as Performance
  • Fragments and Elements
1966
  • Acid Boxes
  • Air Show
  • Frameworks
  • Frameworks Exhibit I
  • Art Out of Sound
  • Crane
  • An Argument from Illusion
  • Aim at Boredom, Kasimir?
  • Loop
  • The Air-Conditioning Show
  • Note Topography for Text Book or Encyclopedia from 1965 to 1966
  • Notes on Malevich
  • Paintings Nr. 1
  • Oxfordshire Show
  • Performance as Text. Appendix. Note 6
  • Robotic Sculpture
  • The Temperature Show
  • Two Black Squares
  • Two Black Rectangles
1967
  • 22 Sentences: The French Army
  • A Note on the Notion of a 368 Years Old Spectator
  • Abstract Art Paintings
  • Acrostic Paintings
  • Bibliography Installation
  • 11 Studies for a Secret Painting
  • 4 Studies for a Secret Painting
  • Frameworks Exhibit II
  • Hot-Cold
  • Identificatory Fragment
  • Map of Itself
  • Map to not Indicate...
  • Map of a Thirty-Six Square Miles Surface Area of the Pacific Ocean West of Oahu
  • Mirror Piece
  • On the Concept of a Non Exhibition
  • Ontology
  • Undeclared Glasses
  • Potato Print Model I & II
  • Readings of Readings of the Tractatus
  • Some Notes about Art and Time
  • 23 Title Equals Text Paintings
  • Temperature Prints
  • Time and News
  • Time Show Fragment
  • Two Black Squares (The Paradoxes of the Absolute Zero)
  • Study for a Secret Painting
  • Notes: Harold Hurrell
  • 100% Abstract
  • Geology
  • Notes on Entropy
  • The Identity Bracelet
1968
  • 22 Sentences the French Army
  • 100% Abstract
  • Abstract of Perception I & II
  • Abstract Relations
  • Analogy Model 1-8
  • Art as Theory
  • Art Objects and Real Things
  • Conceptual Art and Inten(s)ion
  • M1
  • Fluidic Device
  • Elements of an Incomplete Map
  • Intensionality, Quantification. Fragment
  • Laocoon is a Name
  • Models + Dictionaries
  • Notes on Substance Concepts (Art Object)
  • Notes Toward the Art of Terry Atkinson
  • Objects-Ontology
  • On "Conceptual Art" Criticism
  • Six Negatives Categories
  • Systematically Altered Photographs
  • The Object-Language. The Art-Language. The Ascribing of Responsibility
  • Thirty-Nine Negatives Categories
  • Notes Towards "From an Art-Language Point of View"
  • Six Negatives
  • The Art of David Bainbridge
  • The Art of Terry Atkinson
1969
  • A Point of Reference is a Product of Discourse
  • Concerning Interpretation of Bainbridge/Hurrell Models
  • Concerning the Form of Some of the Works and Some of the Form of Some Other Works
  • Frameworks Appendix
  • Information Position 001
  • Ingot
  • Intensionality and Ascription of Responsibility
  • Introduction to Discourse
  • Is Art What Art Says?
  • Lecher System
  • Ontological Fragments
  • Paradigms. Draft 2
  • Textbook – Project Semantics
  • The Art of David Bainbridge: Introduction to Discourse
  • The Literate and the Non-Literate
  • Anthropology
  • Describing Things
  • Notes-Reference to Machine Itself
  • The Theory of Art
  • Fragments of Some notes Towards a Correct Textbook
1970
  • Art and Antinomicness
  • "Art" and Language
  • Existential References. Art Object
  • Fondations of Arithmetic-Frege
  • Handbook on Models. The Relativity of Emotion
  • Handbook to "Ingot"
  • Identity
  • Intension II:: Draft for a Book Section
  • Lecher System
  • "Moral Law" Propadeutic 1.00
  • Noisy Channel: A
  • Notes on Analyses
  • Numbers
  • Ontological Fragment
  • The Grammarian
  • This is Semantics
  • Notes on M1
  • Theories of Ethics
1971
  • Artforum Annotations (Comparative Models)
  • Authorship
  • Comparative Models
  • Exhibition of lectures
  • Latin Index
  • Notes on 'De Legibus Naturae
  • Notes on "Pragmatics I"
  • Olivet Discourse
  • Suggestion for a Map
  • Village Explanation: On Norbert Weiner on the Role of the Intellectual and the Scientist
  • Frameworks Retrospect
  • Notes on Mapping and Indexing
  • The Moral Law
  • Theories of Ethics and Meaninglessness
  • Topological Notebook
  • Transformational Matrices
1972
  • A Dithering Device
  • Art as an Activity which the Artist Enjoys
  • Comparative Models
  • Documenta Memorandum (Indexing)
  • Index 01
  • Index 02
  • Index of a Discussion
  • Index or What?
  • Information and Markov Chains
  • Mapping and Filling
  • Materialism – from "The Fourth International"
  • Schema for Art Models
  • Translation Piece I-V
  • Village Explanation, no.2-no.5
  • The Turin Index
  • Notes for a Lecture
1973
  • A Fragment of a Model for Rigour: "Ontology"
  • All Friends Together
  • Art and Its Cultural Context
  • Art Theory and Scientific Theory
  • Blurting in Art & Language
  • Hybridity Resonance
  • Index 02 (Bxal) Indexical Fragments
  • K Index
  • Li Proceedings Index
  • Logical Construction
  • Notes on 77 Sentences
  • Notes on Hand Book Project
  • Studies for an Art & Language Index
  • Transcription
  • Village Explanation, no.5-no.8
  • 77 Sentences
  • Index Printout
  • Charles Harrison Talking to Michael Baldwin. An Incomplete Index
1974
  • 77 Sentences
  • A Point of Reference is a Product of Discourse (Surf)
  • Ask Yourself Which is the Index
  • Corrected Slogans Music-Language
  • Map of War/Blurt A & L
  • Dialectical Materialism
  • Emma
  • Exemplary Guide to the Aviation Industry 001.1
  • Fine Art Has No History
  • Going-on Douglas Haig
  • Going-on, Going-on
  • Heuristic Sketches for Hell vs Bedlam
  • Historically Proper Names
  • I can't Think: Fear, Death, etc.
  • Index Printout
  • Index 02 (Bxal): Indexical Fragments
  • Internal Description as External Description
  • K Formulae
  • P of H S
  • Printing or Writing
  • Projekt 74 Index
  • Reference Points
  • Remember the Somme – Douglas Haig
  • Self-Superseding Strategy... Or the Given Political Moment
  • Surf as a Function
  • The Machine Appropriated
  • The Masses are the Decisive Force in All Social Change
  • The Paradox of Drawing as an Ideological Resource 1 & 2
  • The Phenomenology of Asking a Question About a Given Item
  • The "Red Lattice" Problems
  • Threshold Agreement
  • Transformational Matrix
  • Transmitted Recipe Knowledge
1975
  • Blindness
  • Dialectic and Unsightly Drinking: Art Galleries and the Putative Sites of Non-Trivial Conflict
  • Indexing Project
  • Internal Evidence Suggests a Kempis / Lowenheim-Skolem Paradox Alone
  • Art & Language Attacks on Socialist Artists
  • Corrected Slogans: Paper Music
  • Good Evening... It is Modern amusements-Time Again
  • Posters for The Fox
  • Print (Section A, Questionnaire)
  • Shouting Men
  • Singing Men
  • The Notion of Conditioning Persuasion and the Notion of Consciousness
  • Village Explanation no.9-no.10
1976
  • Above Us The Waves (A Fascist Index)
  • Illustrations for Art-Language Vol.3 Nr.4
  • Corrected Slogans
  • Dialectical Materialism
  • Notes
  • Posters for the Fox
  • School Poster
1977
  • Ten Postcards
  • Ten Posters: Illustrations for Art-Language
  • Our Progress Lies in Hard Work
  • Born in Flames
1978
  • Born in Flames
  • Flags for Organisations
  • Ils donnent leur sang, donnez votre travail
  • Le Monde bestorne
1979
  • Art & Language in Disguise
  • Study for "Portraits of V.I. Lenin in the Style of Jackson Pollock"
  • Portraits of V.I. Lenin in the Style of Jackson Pollock
1980
  • Born in Flames
  • Portraits of V.I. Leni in the Style of Jackson Pollock
  • Study for "Picasso's Guernica in the Style of Jackson Pollock"
  • Picasso's Guernica in the Style of Jackson Pollock
1981
  • Study for "Gustave Courbet's "Burial at Ornans" Expressing..."
  • Gustave Courbet's "Burial at Ornans" Expressing...
  • Victorine
  • Raped and Strangled by the Man who forced her into Prostitution: A Dead Woman Drawn and Painted by Mouth
  • Attacked by an Unknown Man in a City Park: A Dying Woman; Drawn and Painted by Mouth
  • A Man Battering his Daughter to Death as she Sleeps: Drawn and Painted by Mouth
  • Study for "Index: The Studio at 3 Wesley Place Painted by Mouth
  • Kangaroo?
1982
  • Study for "Index: The Studio at 3 Wesley Place Painted by Mouth"
  • Study for "Index: The Studio at 3 Wesley place illuminated by an Explosion Nearby
  • Study for "Index: The Studio at 3 Wesley Place Showing the Position of Embarrassements
  • Index:_The Studio at 3 Wesley Place Painted by Mouth version I et II
  • Index:_The Studio at 3 Wesley Place in the Dark
1983
  • Art & Language Paints a Picture
  • Index: The Studio at 3 Wesley Place Illuminated by an Explosion Nearby I-VII
  • Impressionism Returning Sometime in the Future
1984
  • Impressionism Returning Sometime in the Future
1985
1986
1987
1988
  • An Incident in a Museum: Study for Hostage
  • Unit Cure Unit Ground I à X
  • Hostage I à IX
  • Hostage: An Incident and a People Flag I à VII
1989
  • Hostage XIX à XXIX
  • Hostage α, β, γ, δ
1990
  • Hostage XXX à LXXX
1991
  • Hostage LXXXI à LXXXIV
  • Exit: Now They Are
1992
  • Index V à XX (Now They Are)
1993
  • Incident, Now They Are, Look Out
  • Incident, Now They Are, Elegant
  • Incident, Now They Are, Next
1994
  • Incident, Foreground I
  • Index 11: Background, Incident, Foreground no.I à XXXVIII
1995
    1996
    • Sighs Trapped by Liars
    1997
    • Sighs Trapped by Liars
    1998
    • Sighs Trapped by Liars
    • A Model for Lucy Grays (Study for Barcelona Wall)
    1999
    • A Picture Painted by Actors
    • Wrongs Healed in Official Hope
    • Material Slang
    • About Reading and Looking
    2000
    • Study for Mother, Father, Monday: Map of the World
    • Mother, Father, Monday: Map of the World

    Exhibitions and awards

    Awards and critics

    In 1986, Art & Language was nominated for the Turner Prize. In 1999, Art & Language exhibited at PS1 MoMA in New York, with a major installation entitled The Artist Out of Work.[18] This was a recollection of Art & Language's dialogical and other practices, curated by Michael Corris and Neil Powell. This exhibition closely followed the revisionist exhibition of Global Conceptualism: Points of Origin at the Queens Museum of Art, also in New York. The Art & Language show at PS1 offered an alternative account of the antecedents and legacy of '"classic" conceptual art and reinforced a transatlantic rather than nationalistic version of events from 1968 to 1972. In a negative appraisal of the exhibition, art critic Jerry Saltz wrote, "A quarter century ago, 'Art & Language' forged an important link in the genealogy of conceptual art, but next efforts have been so self-sufficient and obscure that their work is now virtually irrelevant."[19]

    Permanent collections

    Other exhibits around the world include the works of Atkinson and Baldwin (working as Art & Language) held in the collection of the Tate in the United Kingdom.[20] Papers and works relating to "New York Art & Language" are held at the Getty Research Institute, Los Angeles.

    In March 2011, Philippe Méaille loaned 800 artworks of the Art & Language collective to the Barcelona Museum of Contemporary Art.[21] In June 2015, the Conseil départemental de Maine-et-Loire and Philippe Méaille signed a long term lease agreement for the Château de Montsoreau to promote contemporary art in the Loire Valley.

    Selected exhibitions

    Selected exhibitions[22][23][24]
    Year Exhibition
    1967
    • Hardware Show – Architectural Association, London.
    1968
    • Dematerialisation Show – Ikon Gallery, London.
    • VAT 68 – The Herbert Art Gallery, Coventry.
    1969
    • Art & Language – Pinacotheca Gallery, Melbourne.
    1971
    • The Air-Conditioning Show – Visual Arts Gallery, New York.
    • Art & Language – Galerie Daniel Templon, Paris.
    • Art & Language – Galleria Sperone, Torino.
    • Tape Show: Exhibition of Lectures – Dain Gallery, New York.
    • Questionnaire – Galleria Daniel Templon, Milano.
    1972
    • The Art & Language Institute – Galerie Daniel Templon, Paris.
    • Documenta Memorandum – Galerie Paul Maenz, Cologne.
    • Analytical Art – Galerie Daniel Templon, Paris
    1973
    • Index 002 Bxal – John Weber Gallery, New York.
    • Art & Language – Galerie Paul Maenz, Cologne.
    • Art & Language – Lisson Gallery, London.
    • Annotations – Galerie Daniel Templon, Paris.
    1974
    • Art & Language – Galleria Sperone, TurinGalerie Paul Maenz, Cologne.
    • Art & Language – Bischofberger Gallery, Zürich.
    • Art & Language – Galleria Schema, Florence.
    • Art & Language – Lisson Gallery, London.
    • Art & Language – Galerie MTL, Brussels.
    • Art & Language – Studentski Kulturni Centar, Belgrade.
    1975
    • Art & Language New York <—> Australia – Art Gallery of New South Wales, Sydney, and the National Gallery of Victoria, Melbourne.
    • Art & Language – Foksal Gallery, Warsaw.
    • Dialectical Materialism – Galleria Schema, Florence.
    • Art & Language – Galerie Ghislain Mollet-Viéville, Paris.
    • Art & Language – Galerie MTL, Brussels.
    • ‘Piggy-Cur-Perfect’ – Auckland City Art Gallery, Auckland.
    • Music-Language – John Weber Gallery, New York.
    1976
    • Music-Language – Galerie Eric Fabre, Paris.
    • Art & Language – Museum of Modern Art, Oxford.
    1977
    • 10 Posters: Illustrations for Art-Language – Robert Self Gallery, London.
    • Music-Language – Galleria Lia Rumma, Rome et Naples.
    1978
    • Flags for Organisations – Cultureel Informatief Centrum, Ghent.
    • Flags for Organisations – Lisson Gallery, London.
    1979
    • Ils donnent leur sang; donnez votre travail – Galerie Eric Fabre, Paris.
    1980
    • Portraits of V.I. Lenin in the Style of Jackson Pollock, University Gallery, Leeds.
    • Portraits of V.I. Lenin in the Style of Jackson Pollock, Lisson Gallery, London.
    • Portraits of V.I. Lenin in the Style of Jackson Pollock, Van Abbemuseum, Eindhoven.
    1981
    • Portraits of V.I. Lenin in the Style of Jackson Pollock – Centre d'art contemporain, Genève.
    • Gustave Courbet "Burial at Ornans" Expressing – Galerie Eric Fabre, Paris.
    1982
    • Index : Studio at 3 Wesley Place Painted by Mouth – De Veeshal, Middelburg.
    • Art & Language retrospective – Musée d'Art Moderne, Toulon.
    1983
    • Index : Studio at 3 Wesley Place I, II, III, IV – Gewald, Ghent.
    1986
    • Confessions : Incidents in a Museum – Lisson Gallery, London.
    1987
    • Art & Language : The Paintings – Palais des Beaux-Arts, Brussels.
    1990
    • Hostages XXIV-XXXV – Marian Goodman Gallery, New York.
    1993
    • Art & Language – Galerie Nationale du Jeu de Paume, Paris.
    1995
    • Art & Language and Luhmann – Kunstraum, Vienna.
    1996
    • Sighs Trapped by Liars – Galerie de Paris, Paris.
    1999
    • Art & Language in Practice – Fundacio Antoni Tàpies, Barcelona.
    • Cinco ensayos – Galerià Juana de Aizpuru, Madrid.
    • The Artist out of Work : Art & Language 1972–1981 – P.S.1 Contemporary Art Center, New York.
    2000
    • Art & Language & Luhmann No.2 – ZKM, Karlsruhe.
    2002
    • Too Dark to Read : Motifs Rétrospectifs – Musée d'art moderne de Lille Métropole, Villeneuve d'Ascq.
    2003
    • Art & Language – Migros Museum für Gegenwartskunst, Zurich.
    2004
    • Art & Language – CAC Màlaga, Màlaga.
    2005
    • Hard to Say When – Lisson Gallery, London.
    2006
    • Il ne reste qu'à chanter – Galerie de l'Erban, Nantes (Miroirs, 1965, Karaoke, 1975–2005) et
    • Il ne reste qu'à chanter – Château de la Bainerie (travaux 1965–2005), Tiercé.
    2008
    • Brouillages/Blurrings – Galerie Taddeus Ropac, Paris.
    2009
    • Art & Language – Espoo Museum of Modern Art, Helsinki.
    2010
    • Portraits and a Dream – Lisson Gallery, London.
    • Art & Language – Rhona Hoffman Gallery, Chicago.
    2011
    • Badges – Mulier Mulier Gallery, Knokke.
    2013
    • Letters to the Red Krayola – Kadel Wilborn Gallery, Düsseldorf.
    • Art & Language – Museum Dhont-Dhaenens, Deurle.
    • Art & Language – Garage Cosmos, Brussels.
    2014
    • Art & Language Uncompleted : The Philippe Méaille Collection – MACBA, Barcelona.
    • Nobody Spoke – Lisson Gallery, London.
    2016
    2018

    Selected group exhibitions

    Selected group exhibitions[25][26][27]
    Year Exhibition
    1968
    • Language II – Dwan Gallery, London.
    1969
    • March – catalogue-exposition, Seth Siegelaub, New York.
    1970
    • Conceptual Art And Conceptual Aspects – New York Cultural Center, New York.
    • Information – Museum of Modern Art, New York.
    • Idea Structures – Camden Art Centre, London.
    1971
    • The British Avant-Garde – New York Cultural Center, New York.
    1972
    • Documenta 5 – Museum Friedericianum, Kassel.
    • The New Art – Hayward Gallery, London.
    1973
    • Einige Frühe Beispiele Konzeptuelle Kunst Analytischen Charakters – Galerie Paul Maenz, Cologne.
    • Contemporanea – Rome.
    1974
    • Projekt'74 – Cologne.
    • Kunst über Kunst – Kölnischer Kunstverein, Cologne.
    1976
    • Drawing Now, Museum of Modern Art – New York.
    • Biennale di Venezia – Venice.
    1979
    • Un Certain Art Anglais – Musée d'art moderne de la ville de Paris, Paris.
    1980
    • Kunst in Europa na 68 – Museum van Hedendaagse Kunst, Ghent.
    1982
    1987
    • British Art of the Twentieth Century: The Modern Movement – Royal Academy, London.
    1989
    • The Situationists International, 1957–1972 – Musée National d'art moderne, Centre Pompidou, Paris.
    • L'art conceptuel, une perspective – Musée d'art moderne de la ville de Paris; Fundación Caja de Prensiones, Madrid; Deichtorhallen, Hamburg.
    1992
    • Repetición/Transformación – Museo Nacional de Arte Reina Sofia, Madrid.
    1995
    • Toponimías (8) : ocho ideas del espacio – Fundación La Caixa, Madrid.
    • Reconsidering the Object of Art, 1965–1975 – Museum of Contemporary Art, Los Angeles.
    1997
    1999
    • Global Conceptualism: Points of Origin 1950s–1980s – Queens Museum of Art, New York.
    2002
    • Iconoclash – Center for Art and Media (ZKM), Karlsruhe.
    2003
    • Biennale di Venezia – Venice.
    2004
    • Before the End (The Last Painting Show) – Swiss Institute, New York.
    2005
    • Collective Creativity – Kunsthalle Fridericianum, Kassel.
    2006
    • Le Printemps de Septembre à Toulouse – Broken Lines – Toulouse.
    • Magritte and Contemporary Art: The Treachery of Images – Los Angeles County Museum of Art, Los Angeles.
    2007
    • Sympathy for the Devil: Art and Rock'n Roll since 1967 – Museum of Contemporary Art, Chicago.
    2008
    • Vides. Une rétrospective – Musée National d'art moderne, Centre Pompidou, Paris.
    2009
    • Rock-Paper-Scissors, Pop Music as Subject of Visual Art – Kunsthaus, Graz.
    2010
    • Algunas Obras A Ler – Collection Eric Fabre – Berardo Museum, Lisbon.
    • Seconde main, Musée d'art moderne de la ville de Paris/ARC, Paris.
    2011
    • Erre, Variations Labyrinthiques – Musée National d'art moderne, Centre Pompidou-Metz, Metz.
    2012
    • Materialising 'Six Years': Lucy Lippard and the Emergence of Conceptual Art – Brooklyn museum, New York.
    2013
    • As if it could . Works and Documents from the Herbert Foundation – Herbert Foundation, Ghent.
    2014
    • Propanganda für die Wirklichkeit – Museum Morsbroich, Leverkusen.
    • Critical Machines, American University, Beyrouth.
    2017
    • Art & Language

    Theoretical installations

    Art & Language and the Jackson Pollock Bar collaborated for the first time in January 1995, during the "Art & Language & Luhmann" symposium, organized by the Contemporary Social Considerations Institute (Institut für Sozial Gegenwartsfragen) of Freiburg. The 3-day symposium saw the intervention of speakers including Catherine David, who prepared the Documenta X, and Peter Weibl, artist and curator. There was also a theoretical installation of an Art & Language text produced in playback by the Jackson Pollock Bar.[28] The installation was interpreted by five German actors playing the roles of Jack Tworkow, Philip Guston, Harold Rosenberg, Robert Motherwell and Ad Reinhardt. Using lip sync, the actors used pre-recorded text for a "New Conceptual" conversation.[29] Ever since this collaboration, each new Art & Language exhibition has been joined by a Jackson Pollock Bar theoretical installation.[30][31]

    Past members and associates

    References

    1. "Art & Language | Artists | Lisson Gallery". www.lissongallery.com. Retrieved 23 March 2017.
    2. Neil Mulholland, The Cultural Devolution: art in Britain in the late twentieth century, Ashgate Publishing, Ltd., 2003, p165. ISBN 0-7546-0392-X
    3. "Art & Language | Tate". Tate Etc. Retrieved 23 March 2017.
    4. Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, UNSW Press, 2001, p47. ISBN 0-86840-588-4
    5. "Art & Language". Archived from the original on 23 January 2019. Retrieved 21 May 2017.
    6. "Art & Language". frieze.com. Retrieved 13 August 2019.
    7. Guasch, Anna María (11 February 2011). Arte y archivo, 1920-2010: Genealogías, tipologías y discontinuidades (in Spanish). Ediciones AKAL. ISBN 9788446038146.
    8. Anna Bentkowska-Kafel, Trish Cashen, Hazel Gardiner, Digital Visual Culture: Theory and Practice, Intellect Books, 2009, p104. ISBN 1-84150-248-0
    9. "Des mondes à penser pour les crocodiles soumis" (in French). 30 April 2002. Retrieved 13 August 2019.
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