|"I dwell on Libeskind here because his project is close to my interests, but also because he exposes most clearly the intellectual tendencies of current public building on a grand scale. And the ROM project shows, more than any other current major building, how monumental-conceptual architecture shares the problem of evanescent novelty with conceptual art. Indeed, conceptual art is an important enabling condition of the current architectural scene. Without the pioneering slyness and precedent of clever self-promotion in the Seth Seigelraub (sic) stable of 1960s New York post-Pop artists, today’s architectural highwire artists would probably not exist or function in the global limelight. In a new book, art historian Alexander Alberro usefully unearths the roots of conceptualism in American art. Seigelraub, an accomplished impresario, successfully packaged Lawrence Weiner, Dan Graham, Sol LeWitt, Douglas Huebler, Carl Andre, Robert Barry, and Joseph Kosuth, and sold them as a new art-world brand.Their group exhibitions at Windham College in upstate New York and at Manhattan venues, from Seigelraub’s downtown galleries to the School of Visual Arts, established new norms of intellectual playfulness in an art scene at once moribund and confused."
Monumental/Conceptual Architecture, The Art of Being Too Clever By Half, by Mark Kingwell
kingwell must either be too young or his cross dicipline has failed him in really getting conceptual art. I found his take on coceptual architecture usefull but that may just be my cross dicipline failing me.
"Seigelraub"--pathetic. Young fogey Kingwell did some homework but is dead wrong about Gehry, et al. His description of 60s-style conceptualism (Their works included lined-up bales of hay, grids laid over fields, chunks of plaster removed from gallery walls. Titles and descriptions took on new importance, overshadowing, even contradicting, the “works” themselves. Ads or mock contracts referring to artistic works became the works. Often elaborate imperative or passive-voice instructions—“A can of aerosol paint is sprayed for exactly two minutes six inches from the floor”—defined the projects, making their actual execution more and more irrelevant.) is accurate, as far as it goes, but the common denominator is that it's all about rigor and reduction. It's the exact opposite--a violent reaction to--the kind of arbitrary, confectionary design you see in the so-called "monumental/conceptualists." Gehry is an abstract expressionist wannabe, an "intuitive artist working in architecture." Libeskind, too--even though his forms are faux-crystalline. The conceptualists were "all about the grid," to the extent they had formal concerns at all.
"Concepts, as I shall use the term, and the monumental-conceptual architecture they allow, are freefloating and undemanding, such that the mere play of ideas, the juggling of concepts, is seen as a sufficient justification, an end in itself."