based on the lecture slides I attached below and write two short essays
one and half page for each question and put them into one document
use Chicago Format

see instruction in the attach file!!You are to answer to the best of your ability, the two questions
below & and give Comment on the last. ​The first is based on Week 6
Lecture – ​Dematerialized Objects: Conceptual and Minimal Art. ​The
second is based on Week 7 Lecture – ​Information: Images from Dada
to Digital. ​Slides have been provided for both Lectures under their
corresponding Modules.

○ Submit one long Document with both Essays.
○ Sources should be credited and included in an

alphabetized Bibliography at ​the end of each

○ Essays should be approx. 1 page each.
Double-spaced, 12 point Times New Roman.

○ Titled with something juicy and creative! 1 inch

○ Name, date, professor, course name on each.
○ Your best academic writing. Complete sentences.

(Slang, short-cut abbreviations will be marked

○ Proofread and edit for ‘sense’ and ‘meaning’. Try to
avoid run on sentences.

Question 1: “Conceptual/Minimal -Dematerialization” (approx. 1

Give examples of artworks from Lecture slides in which instructions
were/are the basis of the Art. Discuss the idea of ‘dematerialization’ and
what it meant in the late 50s and 1960s when seen as a new trend or
direction in Art.

● What exhibitions can you name or institutions which developed
this trend? Who were key players? Writers? Curators at that
time? How does Sol Lewitt’s work express “dematerialization”
and/or Minimalism?

● How do ideas of “instruction-based” art overlap with
“ready-mades”? What does the idea of “instruction”
pre-suppose in Art? John Cage specifically figures into this

“instructional” mode of artmaking. How do his ideas about
sound and music connect to these new notions of art and the
art object?

● How was Lucy Lippard’s curatorial and art historical practice
itself “conceptual”? Give an example.

● How does Conceptual Art differ significantly from Minimalism?
Fluxus boxes and multiples, the creations of Brecht, Maciunas,
and Patterson reflect the “dematerialization” trend in art-making.
What do these artworks say about ‘art’ and ‘value’?

Question 2: “Information: Images from Dada to Digital” (approx.
one page)

Information is delivered by pre-digital ‘electronic images’ differently from
how it is delivered ‘digitally’. Describe the differences between ‘analog’
and ‘digital’ media. Give 3 -5 ways that these two types of media images
differ. How are they the same? Contrast them. ​Choose either Hayles or

● What does N. Katherine Hayles say about ‘electronic text’ v.
printed text? What does she write about suiting up in VR? What
was she concerned about in her thesis on ‘virtual bodies’? Be
specific and quote, if necessary.

● William J. Mitchell talks about how digital images differ from
electronic images. He writes about “photographic truth.” How
does Mitchell look at artists like Nancy Burson and how they
were playing with images?

Give examples of at least 3 artworks from Christiane Paul (section o,









II ” ,I,

the dematerialization of art

lucy r. lippard and john chandler

During the 1960’s, the anti-intellectual, emotional/intuitive processes ofart-making character­

istic of the last two decades have begun to give way to an ultra-conceptual art that emphasizes

the thinking process almost exclusively. As more and more work is designed in the studio but

executed elsewhere by professional craftsmen, as the object becomes merely the end product,

a number of artists are losing interest in the physical evolution of the work of art. The studio

is again becoming a study. Such a trend appears to be provoking a profound dematerialization

of art, especially of art as object, and if it continues to prevail, it may result in the object’s

becoming wholly obsolete. ( …)

A highly conceptual art, like an extremely rejective art or an apparently random art,

upsets detractors because there is “not enough to look at,” or rather not enough of what they

are accustomed to lookingjor. Monotonal or extremely simple-looking painting and totally

“dumb” exist in time as well as in space because of two aspects of the

ence. they demand more participation by the despite their apparent hostility

(which is not hostility so much as aloofness and self-containment). More time must be spent

in experience of a detail-less work, for the viewer is used to focusing on details and absorbing

an impression of the piece with the help of these details. Secondly, the time spent looking at

or one with a minimum seems UUu.U,”,’-‘.lJ than action-and- n i:­
‘< detail-filled time. This time element is, of course, psychological, but it allows the artist an :" an ..,.., alternative to or extension of the serial method. Painter-sculptor Michael Snow's film 'l-Vttve­ OJ Q. length, for instance, is tortuously extended within its 45-minute span. By the time the 0' camera, zeroing in very slowly from the back of a large loft, reaches a series of windows and ::r :::I ... ..::r finally a photograph of water surface, or waves, between two of them, and by the time that :::I co. n;photograph gradually fills the screen, the viewer is aware of an almost :orthat seems the result ofan equally unbearable length of time stretched out at a less than normal -co Q. rate of looking; the intensity is reinforced the sound, which during most of the film is '" 3 ;!!. monotonal, moving up in pitch and up in volume until at the end it is a shrill hum, both ~ 0;' exciting and painful. N ;!!. o ::l a minor American Cubist who wrote, over a twenty-five year period, an ~ '" often extraordinary book called The Mathematical Basis ofthe Am, divided the historical evolu­ ­ tion of art into five "wnes," which replace each other with increasing acceleration: 1. pre­ aesthetic, a biological stage of mimicry; 2. traditional-aesthetic, a magic, ritual-religious art; 3. emotional-aesthetic,resource video: BIT Plane, by Bureau of Inverse Technology b/w video, 1996. (Links to an external site.) James Bridle (Links to an external site.) (Links to an external site.) Escape Attempts (reading) - Lucy Lippard introduction to her seminal work, ​Six Years: Dematerialization of the Art Object​, 1966. 0619-001.xml?language=en Marcel Duchamp: M. Duchamp, ​Rotary Glass​, 1920. (Links to an external site.) M. Duchamp, ​Rotary Demisphere​, 1925. Rotary Demisphere Sol Lewitt Link to Wall Drawing Retrospective at MassMOCA (Links to an external site.) Recommended resources: "Ideas in Transmission: Lewitt Wall Drawings and the Question of Medium" by Anna Lovatte, Tate Museum. nsmission-lewitt-wall-drawings-and-the-question-of-medium (Links to an external site.) (Links to an external site.) New York Times review of SF MOMA show ​Snap+Share​, curated by Clement Cheroux, senior photography curator. Tracing the Roots of Image Sharing (Links to an external site.) John Cage, ​4'33"​ (performed by the K2Orchestra) 4'33" John Cage(Orchestra with Soloist, K2Orch, Live) / 4分 33秒 ジョン・ケージ けつおけ! Art by Telephone exhibition (remediated) (Links to an external site.) (Links to an external site.) Transborder Tool - There are quite a few video interviews with Stalbaum, Micha Cardenas, and others from b.a.n.g. lab online. You can also find news articles about it as it was very controversial.

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