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- W1591368084 abstract "This dissertation explores the practice ofcontemporary artist Lawrence Weiner. From 1968 onwards, Weiner haspresented his work using language and, as such, the artist ishistorically regarded as one of the pioneering practitioners ofConceptual art. The artist himself categorically refuses thatdesignation, preferring to focus on the material aspects of hiswork. Nevertheless, his oeuvre has been largely received in termsof a predominantly linguistic intervention. Craig Dworkinencapsulates this position, when in discussing the Conceptual wagerof Weiner's statements he writes: Having tested the propositionsthat the art object might be nominal, linguistic, invisible, and ona par with its abstract initial description, the next step was toventure that it could be dispensed with altogether. By focusingequally on the linguistic and material aspects of Weiner'spractice, this dissertation argues, conversely, that Weiner's workis primarily an object strategy, and not a dematerializedlinguistic presentation. The first part of this discussion dealswith Weiner's ground-breaking work from the mid 1960s to the early1970s, analyzing the full implications of Weiner's extraordinarydecision to present materials through language. Close comparisonsare drawn with the profoundly materialist practices of contemporaryartists such as Robert Rauschenberg, Carl Andre, Richard Serra andRobert Smithson. Weiner's use of language is also distinguishedfrom the text-based works of Conceptual artists Joseph Kosuth andDouglas Huebler, problematizing the degree to which Weiner'sstatements can stand as an exemplar of postmodern textuality,inasmuch as their referential content remains of primaryconsequence. Several chapters of the dissertation focus ondrawings, and in particular the artist's notebooks, an aspect ofWeiner's practice that has remained largely unstudied. Crucially,the notebooks present a model of thinking which is wholly corporealas opposed to purely analytical. Furthermore, they raise theproblem of the visual in relation to a body of work that has beencredited with the suppression of a traditional (optical) aesthetic.In being conceived by the artist as maps, Weiner's drawings alsoinvite an analysis of spatial considerations, and are thus linkedto the artist's own designation of his work, not as art in general,but specifically as sculpture. Finally, the notebooks, likeWeiner's films, practically dissolve the categories of reality andfiction. Indeed, Weiner himself would insist that everypresentation of his essentially realist work is nonethelessinherently theatrical. One of the long-standing criticisms ofConceptual art was that while it made aspects of circulation anddistribution part of the work - thereby testing the limits ofinstitutional constraint and expanding art's potential to engage incollective reception - it failed to achieve truly democraticaccess, in large part by neglecting issues of desire. Thus,Conceptual art's promise of collective accessibility waspurportedly foreclosed by…" @default.
- W1591368084 created "2016-06-24" @default.
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- W1591368084 date "2013-01-01" @default.
- W1591368084 modified "2023-09-23" @default.
- W1591368084 title "Words Matter: The Work of Lawrence Weiner" @default.
- W1591368084 doi "https://doi.org/10.7916/d8vm4kgt" @default.
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