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stephen zepke
THE CONCEPT OF ART
WHEN ART IS NOT A
CONCEPT
deleuze and guattari
against conceptual art
however, it is part of Deleuze and Guattaris
rather proprietal concern to protect philosophy
from what they call its shameless and inane
rivals (11). In this sense Conceptual art is an
example of the concept being usurped by the
ideas men (10; original emphasis) who produce
something of aesthetic value whose marketable
form has been determined by universals of
communication (11). As we shall see, there is
much to support Deleuze and Guattaris intuition
that these marketing managers include conceptual artists.
Conceptual art understands arts material as
linguistically defined concepts. This, Deleuze
and Guattari argue, dematerialises sensation by
banalising it.1 Conceptual art explores universal
truths of linguistic communication that are
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decides what is and what is not art, the art
work loses its ontological consistency and
depends instead upon an epistemological definition. Where the first error neutralised the
artistic object, this democratisation of the
creative act attacks artistic subjectivity, and was
often connected to strategies where pre-formulated equations or concepts constituted the
art work, its materialisation being left to the
discretion of others.3
The reasons for Deleuze and Guattaris
categorical rejection of these conceptual strategies
are therefore similar in both cases; their
Duchampian negations of sensation de-ontologise
aesthetics by turning artistic practice into the
production and exploration of a linguistically
defined concept whose materialisation is either
secondary or redundant. One of the strongest
statements of Conceptual arts linguistic turn
came from Joseph Kosuth, who appealed directly
to logical positivism and the work of A.J. Ayer to
argue that Works of art are analytic propositions, and as such replace philosophy in
analysing arts formal qualities as a concept
(Kosuth 20). As Kosuth famously put it, this
gives us Art as Idea as Idea and means that the
objects he produced are not art but merely
secondary information that points us towards the
utterly immaterial art concept.4 On the other
hand, the work of Sol LeWitt develops
Duchamps assisted readymade technique in
terms of structuralist linguistics. For LeWitt:
The idea becomes a machine that makes the art
(LeWitt 834). The idea or concept linguistically
expressed provides a structural framework for
materialising the work. These systematic operations bore no trace of subjective content, and
produced an object LeWitt claimed was not too
important (834).
Both Conceptual art strategies emerging from
Duchamp explore art as a process of thought
producing concepts. On the one hand, Kosuths
project posits art as an analytical process of
philosophical self-reflection exploring the universal linguistic laws acting as its condition of
possibility. LeWitt, on the other hand, produces
a proposition defining the relation between a
constant law and its variable appearances that
utilises a quasi-scientific method.5 Deleuze and
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namely the dematerialisation of the commodity
and the emergence of immaterial labour. In this
way Conceptual art conformed to rather than
resisted the logic of late capitalism.19
Furthermore, and despite their political ambitions, conceptual artists maintained enough of the
art object and subject to be recognised by the
market. Most important was the use of certificates
to authenticate an art work manufactured from
mass-produced objects, such as the neon works of
Dan Flavin, or to prove possession of a work with
no material existence, a device widely used by
artists such as Robert Barry or Lawrence Weiner.
This authentification guaranteed the art work as a
commodity and meant that as a signifier for the
contemporary, Conceptual arts attempt at political resistance could be exploited in full.
Similarly, artists like Joseph Kosuth cultivated
a highly marketable public persona built around
the intellectual skills required by the artist to be
plugged in and turned on in the information
age of global capital.
Conceptual artists belief that they could
collapse the market from within by withdrawing
themselves from it merely affirmed an outside of
everyday life that was as much controlled by
market forces as the art world. Conceptual art
operated through a dialectical avant-garde logic
which attempted to collapse the art work, and
with it the art world, into everyday life. But their
work rarely offers a critique on this life, and, as
Deleuze and Guattari argue, produces a passive
banality entirely complicit with the cynical
perceptions and affections of the capitalist
himself (Deleuze and Guattari, What is
Philosophy? 146).20
It is here that we can begin to see what the
contemporary stakes of a politicised aesthetic
practice really are, and how our conceptual
inheritance could be useful. Any strategy of
exodus must be a positive one, as Paolo Virno
puts it, the exit must be an unrestrained
invention which alters the rules of the game and
throws the adversary completely off balance
(Virno, A Grammar of the Multitude 70). This
can only be achieved, and here I think Deleuze
and Guattari in broad terms agree with Virno, by
founding a new republic, by constructing a new
world through an ontological engagement with
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This is perhaps the more rigorously constructivist
strategy, and is found in practices that are
indiscernibly aesthetic and political. I am thinking in particular of projects that are not
concerned with the question of what art is and
what it is not, but instead compose territorial
readymades with both aesthetic and political
dimensions into alternative social constituencies.
This is perhaps the Guattarian vision of an ethicoaesthetic paradigm, and here we find activists
rather than artists. The question remains,
however, whether these practices are either
truly aesthetic, and can produce radical sensations, or are not simply spectacular events taking
the place of real political actions.
Whatever contemporary directions we choose
to pursue, they must account for Deleuze and
Guattaris clear rejection of Conceptual art. This
remains a difficult provocation because it challenges our dominant understanding of what
constitutes our contemporaneity, while continuing to question political strategies of resistance
that do not launch a fundamental attack on the organism
and representation. It is no
doubt a measure of the necessity of these practices that they
seem so difficult to locate.
notes
1 Deleuze and Guattaris use of dematerialization refers to Lucy Lippards early connection
of the term to Conceptual art practices in
Lucy Lippard and John Chandler, The
Dematerialization of Art, in Art International
(Feb. 1968), and later in Lippards better known
Six Years: The Dematerialization of the Art Object
from1966 to1972.
2 Steinberg argues that Duchamp is perhaps the
most vital source (85) for the flatbed plane, and
that in its primary example ^ the work of Robert
Rauschenberg ^ this surface stood for the mind
itself (88) and not least the banality of its processes and products (90). All these themes are
relevant to Deleuze and Guattaris rejection of
conceptual art.
3 These two receptions of Duchamps readymade
in Conceptual art, as well as Deleuze and
Guattaris objection to them, had already been
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footnote of the Smooth and the Striated chapter
in A Thousand Plateaus, which is to Fried), and a
disavowal of differences (Deleuzes claim that his
disagreement with Greenberg is merely an ambiguity over words (Deleuze, Francis Bacon 107)).
On the other there is a clearly irreconcilable difference over the Modernist dematerialisation of
sensation in vision, and the transcendental aesthetic Greenberg takes from Kant. For a more
detailed discussion of this problem see Zepke,
chapters 4 and 5.
15 Michael Hardt and Antonio Negri suggest a
political project in which being against becomes
the essential key to every active political position
in the world (Empire 211). As Paolo Virno writes:
The political action of the Exodus consists, therefore, in an engaged withdrawal, a withdrawal that
will found a new republic against the State (Virno,
Virtuosity and Revolution 197).
16 Weiner attempts to express class solidarity
with this piece, claiming that the reason it is
sprayed onto the floor is because that is how a
car-painter does it. From this point of view, spraying on the wall is an unnatural act. See the interview with Weiner in Alberro and Norvell (106).
17 This could be a hilariously extreme attitude.
Lawrence Weiner, for example, claimed that not
going outside to execute one of his pieces because
it was snowing would be a kind of expressionism.
See the interview with Weiner in Alberro and
Norvell (106).
18 For a useful account of the corporate embrace
of Conceptual art see Alberro (Conceptual Art and
the Politics of Publicity, chapter 1: Art, Advertising,
SignValue).
19 This is a reading of Conceptual art that is widespread in the literature, and emerged as early as
Lucy Lippards Postface to Six Years: The
Dematerialization of the Art Object from 1966 to
1972 from 1973. While Buchloh writes that
Conceptual art mimed the operating logic of
late capitalism and its positivist instrumentality,
he argues that it did so with the aim of
liquidating even the last remnants of traditional aesthetic experience (Buchloh 142^ 43).
Alexander Alberro states more categorically that
the idea that the political economy of conceptual
art sought to eliminate the commodity status
of the art object, while highly provocative,
is mythical (Alberro 4).
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Stephen Zepke
Kohlergasse 5-18
1180 Vienna
Austria
E-mail: eszed@hotmail.com