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Conceptual Art and the Politics of Publicity
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This is the most rigorous history of conceptual art in print, and an important addition to the literature on postwar art. -- Pamela Lee, Department of Art and Art History, Stanford University Conceptual Art and the Politics of Publicity offers a detailed account of the complex relationship between the official Conceptual Art movement in New York City and the concomitant social and economic pressures of burgeoning late capitalism. Through clear prose and precise arguments, Alberro traces the intricate links among the conceptual artists and the entrepreneurs who marketed their work, thoughtfully exploring the contradictions these relationships entailed. Most importantly, the book demystifies the movement by pointing to the paradoxical dependence of dematerialized "idea art" on the machinations of a voracious art market that made the works available for consumption while promoting them as resistant to the forces of institutionalization. -- Amelia Jones, Professor of Art History, University of California, Riverside This book brings thorough and original scholarship to a relatively neglected field. Alberro's work is presented with an impressive breadth of cultural, political and historical awareness. His command of wide-ranging sources is remarkable and his deployment of them revealing. -- Nicholas Baume, Chief Curator, Institute of Contemporary Art, Boston

About the Author

Alexander Alberro is Virginia Bloedel Wright Professor of Art History at Barnard College. He is the author of Conceptual Art and the Politics of Publicity and the coeditor of Conceptual Art: A Critical Anthology, both published by The MIT Press.

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A valuable contribution to the literature on conceptual art. -- Michael Dashkin Library Journal Alberro does a surprisingly good job of putting into perspective and recording the Conceptual Art movement. -- Gina Vivinetto St. Petersburg Times This is in many ways a bold and suggestive book. -- Peter Osborne Artforum This scholarly text on a little-examined topic draws fascinating parallels between the art world and postindustrial capitalism and telecommunications. -- Gregg Sapp Library Journal

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