Papers by Alexander Alberro
''This final volume of the Parachute anthology gather together essays dealing with the so... more ''This final volume of the Parachute anthology gather together essays dealing with the so-called ''academic media.'' Painting, sculpture, installation, and architecture are debated from several perspectives : from new theories of aesthetic production to the expansion of the art worl, from the ''lessons'' of postmodernism to the definition and exhibition challenges causes by the proliferation of installation art. Essays discuss artists such as Mona Hatoum, Guillermo Kuica, Louise Lawler, Reinhard Mucha, Robert Ryman, Michael Snow, and include Dan Graham on Gordon Matta-Clark and Jeff Wall on Edouard Manet.''-- p. [4] of cover.
Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes, 2018
View Crossmark data governments persistently deploy invasive technologies for development even wh... more View Crossmark data governments persistently deploy invasive technologies for development even when they know those technologies are ecologically unstable?"is vaster than a single-region case study can address, while the answers providedpersonal greed (Gómez), political imperatives (Cardenismo), faith in tomorrow's technology to solve today's problems (dam and pumps), the conclusion that técnicos "were no different from their counterparts throughout the world" (p. 20)are predictable and unsatisfying. But no matter: with this book, water can no longer be left out of any discussion of agrarian reform in Mexico.
"This comprehensive book surveys BAXTER&'s remarkable career and recognizes his defi... more "This comprehensive book surveys BAXTER&'s remarkable career and recognizes his defining contribution to mainstream histories of conceptual art, photography, and instalation art. Featuring more than 200 reproductions, it also offers a multifaceted appraisal of his achievement with feature essays by David Moos, Michael Darling, Dennis W. Durham, Christophe Domino, and Lucy R. Lippard, as well as interviews with IAIN BAXTER& and Ingrid Baxter by Alexander Alberro" -- p. [4] of cover.
October, 2015
Roberto Jacoby is part of a generation of artists who, in a series of important exhibitions at th... more Roberto Jacoby is part of a generation of artists who, in a series of important exhibitions at the Instituto Torcuato Di Tella in Buenos Aires in the 1960s, began to combine structuralism and semiology with Marxism. His art projects have been predominantly collaborative, and their very status as “art” has been troubled by their pervasive ephemerality, context specificity, and topicality. To this day, Jacoby's art, research, and writings continue to confound the boundaries of the art institution.
Art Journal, 2002
... As the art historian David Rosand recalls, "You read it because it told you what was ...... more ... As the art historian David Rosand recalls, "You read it because it told you what was ... The term "dematerialization," coined by art historian Lucy Lippard and John Chamberlain in 1968, is often ... from traditional notions of skill and presentation, "It's going to take some gutsy people to ...
October, 1997
It must be a sinister American" petit-bourgeois"" imperialist" plot to please... more It must be a sinister American" petit-bourgeois"" imperialist" plot to please me. Well, I'll have to check out the latest composite fantasies of French radicalist party lines on American artists and their seasonal comforts with little Buren, if ever again he surfaces in New York.
October, 1994
Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having s... more Benjamin Buchloh: Having seen the Robert Morris exhibition one more time, yesterday, and having seen the Cardfile piece, I was confirmed in an earlier assumption which I couldn't really verify before, since I didn't then have access to the detailed contents of the piece: namely that Morris's work is constitutive for the beginning of Conceptual art in the American context. On every level, it anticipates-in the same way incidentally, as the I-Box does-the three questions that are crucial for the program of Conceptual art, as I see it: one, the specific question of how traditional forms of markmaking can be displaced by an exclusively photographic or textual operation of recording and documentation; second, and more complicated perhaps, the question of how the legacy of Duchamp was transformed from its first level of reception in the work ofJasperJohns to the second level in Morriswhat one might call the semiological, or the structural/linguistic axis; and third, and more commonly, the radical dismantling of all traditional definitions of objects and categories-the "dematerialization of the work of art," as Lucy Lippard called it-and its transfer onto the linguistic, the photographic, and the site-specific operations within which Conceptual art was defined.
Modernism/modernity, 2013
ion at the Museum of Modern Art By Alexander Alberro, Barnard College and Co-
Grey Room, 2002
... Representatives, 1993. Advertisement for the Austrian Pavilion in the 1993 Vience Biennale. P... more ... Representatives, 1993. Advertisement for the Austrian Pavilion in the 1993 Vience Biennale. Photo: Rudi Molacek. Page 18. Notes I would like to thank Christopher Davey, Branden W. Joseph, and especially Nora M. Alter for their editorial advice in the preparation of this article. ...
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Papers by Alexander Alberro