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Art After Conceptual Art
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Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. The anthology introduces and develops the idea that Conceptual art generated several different, and even contradictory, forms of art practice. Whereas some of these art modes contested commonplace assumptions of what art is, others served to buttress those beliefs. The bulk of the volume features newly written and highly innovative essays challenging standard historicizations of the legacy of Conceptualism, as well as the critical impact of these art practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between Conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, Conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of Conceptual art, and Conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after Conceptual art. The present volume aims to trigger an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art.

The Generali Foundation Collection Series introduces important themes from this collection of contemporary art, without dealing explicitly with the collected artworks. Instead, it explores those discourses that have been crucial for the formation of art practices central to theGenerali Foundation Collection. Furthermore, it makes visible their social, historical, and theoretical contexts, and the relevant shifts and disruptions within them.

Distributed for the Generali Foundation, Vienna
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About the Author

Sabeth Buchmann is Professor of Modern and Postmodern Art at the Academy of Fine Arts Vienna (Institute for Art Theory and Cultural Studies).

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The pointed differences of opinion and radical departures from established theory considered here instead offer a fresh perspective on the implication of working in a conceptual mode in the global arena of the 21st century. This is an important prompt to a developing discussion. * Canadian Art *

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