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Six Years: The Dematerialization of the Art

Six Years: The Dematerialization of the Art

Six Years: The Dematerialization of the Art Object from 1966 to 1972 by Lucy Lippard

Six Years: The Dematerialization of the Art Object from 1966 to 1972



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Six Years: The Dematerialization of the Art Object from 1966 to 1972 Lucy Lippard ebook
ISBN: 9780520210134
Format: pdf
Page: 280
Publisher: University of California Press


Artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard's famous book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Mar 14, 2014 - [iii] It is arguably the effects of the 'dematerialization of the art object' as assessed by Lucy Lippard in her 1973 book Six Years: The Dematerialization of the Art Object from 1966 to 1972, that resonate even more strongly today. Six Years: The Dematerialization of the Art Object from 1966 to 1972 … Berkeley: University of California, 1997. In 1971, Costa returned to Argentina. Luch Lippard “Postface, In Six Years: The Dematerialization of the Art Object, 1966 to 1972”, ibid. Mar 26, 2006 - When the object becomes a practice, it becomes something over which you can have no control or ownership.(29) .. La antología de Lippard Six Years: The Dematerialization of the Art Object from 1966 to 1972 publicada cinco años después, muestran que este acto de identificación se caracterizó por una buena cantidad de incertidumbre. I also have a 1997 copy of Lucy Lippard's 1973 book “Six Years: The Dematerialization of the Art Object from 1966 to 1972. In 1977, he presented Homage to Marcel Duchamp. Feb 28, 2014 - . Nov 13, 2013 - Independent publishing by designers, or independent publishing by artists, seems more true to form. Jun 1, 2013 - The same work is later published in Lucy Lippard's "Six Years: The dematerialization of the art object from 1966 to 1972", p. Lippard, “Six Years – The Dematerialization of the Art Object from 1966 to 1972” or Paul Schimmel (ed.): “Out of Actions: Between Performance and the Object, 1949–1979“).





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