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008			020612s2003 mauab b 001 0 eng d
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050	0	0	_aN6512.5.C64 _bA43 2003
082	0	0	_a709.7309045 _221
100	1		_aAlberro, Alexander, _eauthor. _91034172
245	1	0	_aConceptual art and the politics of publicity / _cAlexander Alberro.
264		1	_aCambridge, Mass. : _bMIT Press, _c[2003]
264		4	_c©2003
300			_a236 pages : _billustrations, maps ; _c22 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 212-223) and index.
505	0	0	_gPt. I. _tThe Contradictions of Conceptual Art -- _gCh. 1. _tArt, Advertising, Sign Value -- _gCh. 2. _tArt as Idea -- _gPt. II. _tPrimary and Secondary Information -- _gCh. 3. _tLocations, Variables, and Durations -- _gCh. 4. _tThe Linguistic Turn -- _gCh. 5. _tDematerialization -- _gPt. III. _tArtists' Rights and Product Management -- _gCh. 6. _tThe Xerox Degree of Art -- _gCh. 7. _tThe Siegelaub Idea.
520	1		_a"Conceptual art was one of the most influential art movements of the second half of the twentieth century. In this book Alexander Alberro traces its origins to the mid-1960s, when its principles were first articulated by the artists Dan Graham, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, and others. One of Alberro's central arguments is that the conceptual art movement was founded not just by the artists but also by the dealer Seth Siegelaub. Siegelaub promoted the artists, curated groundbreaking shows, organized symposia and publications, and in many ways set the stage for another kind of entrepreneur: the freelance curator. Alberro examines both Siegelaub's role in launching the careers of artists who were making "something from nothing" and his tactful business practices, particularly in marketing and advertising."--BOOK JACKET.
588			_aMachine converted from AACR2 source record.
650		0	_aConceptual art _zUnited States _9601355
907			_a.b10767319 _b11-07-17 _c27-10-15
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