Marga Bijvoet: Art as Inquiry: Toward New Collaborations Between Art, Science, and Technology (1997) [EN, DE]

16 April 2015, dusan

Art as Inquiry is a pioneering yet under-recognized monographic study of art in the 1960s and early 1970s; Despite the subtitle, Bijvoet’s artistic concerns are not exclusively focused on science and technology, but rather with the “‘moving out’ into nature or the environment and the “moving ‘into technology’”: twin tendencies that, in her mind, stand out amidst the pluralism of 1960s art. She claims that these movements not only broke “the boundaries of art and … the commercial art world structure” but more importantly that environmental artists and tech artists both sought out and engaged in collaborations in which the artist “entered into a new relationship with the environment, space, public arena, onto the terrain of other sciences.”” (Edward A. Shanken)

Publisher Peter Lang, 1997
ISBN 0820433829, 9780820433820
x+283 pages

Review: Alan Dorin (2006).

WorldCat (EN)

Art as Inquiry (English, 1997, HTML, at Internet Archive)
Kunst-Forschung (German, n.d., HTML, at Internet Archive)

Jack Burnham: The Structure of Art (1971/73)

15 April 2015, dusan

Jack Burnham is a writer on art and technology, curator of the 1970 Software show, and one of the main forces behind the emergence of systems art in the 1960s. In his second book, The Structure of Art, Burnham “developed one of the first systematic methods for applying structural analysis to the interpretation of individual artworks as well as to the canon of western art history itself.”

Publisher George Braziller, New York, 1971
Revised edition, 1973
ISBN 0807605956, 9780807605950
195 pages


PDF (69 MB, no OCR)
PDF (19 MB, OCR’d version via Marcell Mars, added on 2015-4-16)

More from Burnham

Earth Art (1970)

12 April 2015, dusan

“With the emergence of land art in the late 1960s, artists began making works inextricably bound to their sites, which became known as “Earthworks.” They worked on location and used the earth itself as canvas or sculptural material, making outdoor gestures—often in distant corners of the world—that were both antimonumental and epic. Because their art evaded the traditional path from cloistered studio to rarefied gallery or museum, the artists often were dependent on photography and the mass media to communicate its very existence.

The Earth Art exhibition—held at the Andrew Dickson White Museum of Art at New York’s Cornell University, in 1969—was the first museum exhibition dedicated to this new way of producing and presenting artworks. Conceived by Willoughby Sharp (1936–2008), an independent curator, publisher, and artist, the exhibition presented site-specific installations by nine artists: Jan Dibbets from the Netherlands, Hans Haacke and Günther Uecker from Germany, Richard Long from Great Britain, David Medalla from the Philippines, and Neil Jenny, Robert Morris, Dennis Oppenheim, and Robert Smithson from the United States. Initially twelve artists were invited: Michael Heizer and Walter de Maria briefly exhibited in the show but were not mentioned in the catalogue, which was published a year later. Carl Andre was also invited but ultimately declined to participate.

Most of the participating artists were on site for about a week in late January/early February of 1969 to make new pieces for the exhibition with the help of students from Cornell University, including Gordon Matta-Clark and Louise Lawler, graduates of the College of Architecture, Art, and Planning. Medalla sent installation instructions for his piece by mail, while Morris had to phone his in—he could not make it to Ithaca because of a blizzard.

Installed inside the A. D. White Museum and scattered around the Cornell campus and the surrounding Ithaca area, the commissioned pieces sought to eschew the commodity status of the art object and to question the role of institutions. The dissolution of boundaries—between object and context, between different mediums, and between the work of art and its documentation—was a hallmark of the art of the time, reflecting 1960s counterculture more broadly. It is at this intersection—where art meets life and art turns into activism—that the influence of the 1960s earth artists has perhaps had the most significant impact on a current generation of artists working on issues related to ecology.

The exhibition catalogue includes a foreword by Thomas W. Leavitt (1930–2010), then the director of the A. D. White Museum of Art; essays by Sharp and William C. Lipke, then professor of art history at Cornell University; artist biographies; transcripted excerpts from a symposium on earth art held at Cornell on February 6, 1969; and more than forty black-and-white photographs.” (Source)

Edited by Nita Jager
Publisher Cornell University, New York, 1970
n.p. [81 pages]
via Cornell University Library

Video interviews with Willoughby Sharp and Dennis Oppenheim about the exhibition, 2008, 20 min

PDF (25 MB)
View online

For more on land art see Monoskop wiki.

Jeffrey Kastner, Brian Wallis (eds.): Land and Environmental Art (1998)

12 April 2015, dusan

“The traditional landscape genre was radically transformed in the 1960s when many artists stopped merely representing the land and made their mark directly in the environment. Drawn by the vast uncultivated spaces of the desert and mountain as well as post-industrial wastelands, artists such as Michael Heizer, Nancy Holt and Robert Smithson moved the earth to create colossal primal symbols. Others punctuated the horizon with man-made signposts, such as Christo’s Running Fence or Walter de Maria’s Lightning Field. Journeys became works of art for Richard Long while Dennis Oppenheim and Ana Mendieta immersed their bodies in the contours of the land.

This book traces early developments to the present day, as artists are exploring eco-systems and the interface between industrial, urban and rural cultures.”

Edited by Jeffrey Kastner
Survey by Brian Wallis
Publisher Phaidon Press, 1998
ISBN 0714835145, 9780714835143
304 pages

Review: Boettger (CAA.Reviews, 1999).


PDF, PDF (117 MB, no OCR)

For more on land art see Monoskop wiki (includes a select bibliography and collection of links to online documentation of the works by early land artists).

Thomas Metzinger, Jennifer M. Windt (eds.): Open Mind (2015)

9 April 2015, dusan

Open Mind is an open access collection of 39 original research publications on the mind, brain, and consciousness.

The contributions were written by 92 junior and senior members of the MIND Group, including internationally renowned researchers working in various areas of philosophy, psychology, cognitive neuroscience and neuroethics. The collection commemorates the 20th meeting of the group.

Thomas Metzinger founded the MIND Group in 2003 to provide young German philosophers with a platform that would help them establish contacts in the international research community and participate in the latest developments in contemporary philosophy of mind. An ever-changing group of advanced undergraduate students, doctoral candidates, and young researchers from different countries meets twice a year in Frankfurt am Main.

Publisher MIND Group, Frankfurt am Main, January 2015
Open Access
ISBN 9783958571020
c1578 pages

Project website
Book announcement

Individual papers (HTML, PDF, EPUB)
single PDF (78 MB)
single EPUB (284 MB)

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