INTRODUCTION À L’ÉDITION FAC-SIMILE

 

Cette réimpression est le résultat d’une demande grandissante pour les parutions de la revue Art-Language qui sont épuisées et deviennent de plus en plus difficiles à trouver. Cette nouvelle édition regroupe les 19 numéros de la première série. Tous sont reproduits en fac-simile et aucun n’a été ré-édité. A l’origine, les Vol. 2 No. 4 (mars 1974), Vol. 3 No. 1 (septembre 1974) et Vol.3 No.2 (mai 1975) étaient imprimés en format A4. Ils apparaissent maintenant dans le format A5 classique de toutes les autres parutions.

 

Art-Language fut publié pour la première fois en 1969. Ses éditeurs étaient Terry Atkinson, David Bainbridge, Michael Baldwin et Harold Hurrell. Le nom de Joseph Kosuth apparaît en tant que « Éditeur américain » dans les numéros 2 et 3 du Vol.1 (février et juin 1970). En automne 1971, un bureau de la rédaction est formé par Terry Atkinson, David Bainbridge, Michael Baldwin, Ian Burn, Charles Harrison, Harold Hurrell, Philip Pilkington, Mel Ramsden et David Rushton. Il est mentionné dans le numéro 2 du Vol. 2 (été 1972), et apparaît à nouveau dans le numéro suivant (septembre 1973) avec l’ajout de Graham Howard. Charles Harrison fut l’éditeur en chef du Vol. 1 No 4 (novembre 1971) et de toutes les publications suivantes, à l’exception du Vol. 3 No. 1 (septembre 1974), qui fut édité à New York par Ian Burn, Mel Ramsden et Terry Smith.

 

Le premier numéro d’Art-Language (Vol. 1 No 1, mai 1969) est sous-titré « Le journal de l’Art Conceptuel ». Lorsque parut le second numéro (Vol. 1 No 2, février 1970), il était clair que la question de l’Art conceptuel y était abordée et qu’il y avait davantage d’artistes conceptuels qui n’étaient pas sensibles au journal. Cette dénomination fut donc abandonnée. Cependant, Art & Language avait déjà revendiqué un projet et une organisation déterminés. Il s’agissait de la première empreinte permettant d’identifier une entité publique dénommée « Art conceptuel » et la première à servir les intêrets théoriques et conversationnels d’une communauté d’artistes et de critiques, à la fois créateurs et utilisateurs. Alors que la nature de l’art conceptuel ne faisait pas l’unanimité au sein de la communauté, les points de vue des éditeurs et de la plupart des tous premiers collaborateurs étaient eux très fortement identiques. L’art conceptuel était une critique du modernisme, pour son côté bureaucratique et historique, et une critique du minimalisme pour son conservatisme philosophique. La pratique de l’art conceptuel était avant tout théorique, et sa forme, essentiellement textuelle.

 

L’art conceptuel est maintenant bien représenté tant dans les anthologies historiques qu’analytiques. Tandis que ces anthologies s’efforcent rarement d’offrir une synthèse bien structurée, les exigences de cohérence et d’extension fournissent les conditions nécessaires pour un nettoyage culturel et historique et, parfois, pour des exégèses anachroniques et des exercices d’hygiène philosophique dénuée de sens. Le contenu de cette édition réimprimée est bien souvent brouillon, à voix multiples, rudimentaire, tendancieux, obscure et présenté sous la forme de conversations. À quelques exceptions près, cette réimpression est inacceptable pour les agendas du monde de l’art, ce qui représente une anomalie et un désagrément pour tous ceux qui recherchent une vue d’ensemble historique. Ces textes ne décrivent pas un processus de purification régulier, ni s’adressent à ses aspects post-modernes (sans problèmes ?). Au contraire, ils témoignent des interrogations, du travail et du scandale avec lequel Art & Language s’est transformé et par lequel il a été transformé.

 

La première publication de la nouvelle série Art-Language fut publiée par Art & Language en juin 1994. Cette nouvelle série n’apparaît pas dans cette édition.

 

Art & Language (Michael Baldwin, Mel Ramsden, Charles Harrison)

 

INDEX DES VOLUMES 1 À 5, MAI 1969 – MARS 1985

 

Dans l’index qui suit, l’attribution des textes d’« Art & Language » reflète une convention de relatif anonymat qui fut établie à partir du Vol. 2 No 4 (Juin 1974). A l’inverse de l’agence des collaborateurs anonymes qui variait de publication en publication, dix configurations d’auteurs sont couvertes par cette attribution. Elles se présentent comme suit :

 

A: Michael Baldwin, Philip Pilkington

B: Ian Burn, Mel Ramsden, Terry Smith

C: Michael Baldwin, Ian Burn, Charles Harrison, Sandra Harrison, Philip Pilkington, Mel Ramsden

D: Michael Baldwin, Charles Harrison, Harold Hurrell

E: Michael Baldwin, Kathryn Bigelow, Mel Ramsden, Mayo Thompson

F: Michael Baldwin, Charles Harrison, Philip Pilkington, Mel Ramsden

G: Michael Baldwin, Charles Harrison, Philip Pilkington, Mel Ramsden, Mayo Thompson

H: Michael Baldwin, Charles Harrison, Sandra Harrison, Lynn Lemaster, Philip Pilkington,

Mel Ramsden

I: Michael Baldwin, Charles Harrison, Mel Ramsden

J: Michael Baldwin, Charles Harrison, Mel Ramsden, Mayo Thompson.        

 

Dans certains numéros, les personnes engagées dans une conversation avec les véritables auteurs sont présentées de différentes façons sous la forme d’une liste – et dans un esprit de solidarité – sous les dénominations « Collaborateurs » (Vol. 3 No 1, septembre 1974), « Les On-Dit d’auteur » (Vol. 3 No 2, mai 1975) et « Nous » (Appendice au Vol. 3 No 3, juin 1976).

 

Dans les Vol. 3 No 3 et Vol. 3 No 4 (octobre 1976), l’éditeur porte la désignation « Art & Language (P) » et « Art & Language (i) » respectivement. Ces désignations furent ainsi adoptées à l‘époque afin d’exprimer une identité continue pour Art & Language et afin d’éviter la confusion avec « Art & Language Foundation Inc. », qui n’existait plus alors et qui avait été formé pour publier The Fox (« Le Renard ») à New York en 1975-76.

 

La Nouvelle Série d’Art-Language n’est pas mentionnée dans cet index.

 

 

ALPHABÉTIQUE PAR AUTEUR

 

Art & Language A

– A-L and me...what I know, care about... Going-on as Grammar. No money, no prospects... Fear... Starvation... [2.4.1-6]

– Art and Language [2.4.45-50]

– Brainstorm Proposal [2.4.16-25]

– Data Blank, December 1973 [2.4.15]

– Dear... [2.4.15]

– Fragment from Contemporanea Index [2.4.37]

– Further Points of Reference [2.4.126-130]

– Instruction Index a x [2.4.73-99]

– Instruction Index b x [2.4.100-123]

– The Old Gourmet (Transcript) [2.4.62-70]

– Points of Reference, the Hope of Ideology [2.4.40-44]

– Proceedings M2 [2.4.71-72]

– Redemption not Adaptation [2.4.7-14]

– ‘The statement that there is a body of dialectical discourse...’ [2.4.124]

– Uplifting Public Utterance [2.4.35]

– Vector and Magnitude [2.4.34]

– Violins and Cows [2.4.1-6]

– ‘Whether there exists, or has existed an ‘ideological’ person...’ [2.4.36]

– Why J.Kosuth Won't Work for Us & Other Trivia [2.4.51-61]

 

Art & Language B

– Annotations...Selective Memory (Histrionics?)... [3.1.15-17]

– Apodictic Tableaux [3.1.10-12]

– Art-Career Components [3.1.87-89]

– Bureaucracy... [3.1.20]

– Bxal-ing [3.1.76-79]

– Cacophonous... [3.1.18-19]

– Caution [3.1.1]

– ...Concatenation... [3.1.74-75]

– ‘Consistency’ is an Ideological Postulate [3.1.44-47]

– ...Corpse of Official Language [3.1.69-70]

– Dead Horse... [3.1.48-49]

– Do we have anything like ‘Assertion’? [3.1.37-41]

– Endless Revisability... [3.1.80-82]

– Equivocating... [3.1.64-67]

– Exploitation... Education... [3.1.101-103]

– Fur Teacups [3.1.60-61]

– Ideal Speakers... [3.1.13-14]

– Institutional Serenity [3.1.32-35]

– Iteration [3.1.50]

– Joseph Kosuth says that the group is a Cultural Ghetto [3.1.54-5]

– Language has a Hold on us [3.1.5-7]

– Leftish Critique [3.1.106-108]

– A ‘Logic’ of Going-On? [3.1.36]

– Market Relations [3.1.8-9]

– Modeish about Cultural Indeterminacy [3.1.98-100]

– More Exhortations? [3.1.51-53]

– No Refuge in ‘Audience’... [3.1.23-26]

– ...Overboard about Kierkegaard [3.1.57-59]

– Points of Order? [3.1.21-22]

– Routine... [3.1.68]

– Shop-Floorish? [3.1.104-105]

– ‘Sometimes I feel like an Artist...’ [3.1.27-31]

– Somewhere to Begin [3.1.2-4]

– Sporadic Encounter [3.1.109-110]

– Straight Talk? [3.1.62-63]

– Striving in the Uproar [3.1.83-86]

– The Unreality of this Culture [3.1.90-97]

– We wish they had a Dictionary [3.1.71-73]

– What are we doing in Language? [3.1.42-43]

 

Art & Language C

– Accidental Synopsis [3.2.93-94]

– Art and Language [3.2.41]

– Brainstorming – New York [3.2.31-40]

– Community Work [3.2.44-45]

– For Thomas Hobbes – I [3.2.1-6]

– Little Grey Rabbit Goes to the Sea [3.2.59-62]

– ‘Mr. Lin Yutang Refers to “Fair Play”...?’ [3.2.68-80]

– My Amazed Admiration (...of the Subtle Complexity Reached by Western Capitalism) [3.2.87-88]

– On the Embarrassing Dangers of Banishing 12 – Tone Music [3.2.95]

– Overview – The Paradox of the Heap of Stones [3.2.63-64]

– Pedagogical Sketchbook (AL) [3.2.20-30]

– Rambling: To Partial Correspondents [3.2.46-51]

– A Review of Styles [3.2.7-12]

– Slogan Adaptation [3.2.65-67]

– Strategy is Political: Dear M... [3.2.81-86]

– ‘To Begin With, While I am Clearly a Marxist Sympathizer...’ [3.2.13-19]

– Utopian Prayers and Infantile Marxism [3.2.89-92]

– Vulgar and Popular Opinions [3.2.52-58]

 

Art & Language D

– Abstract Art [3.3.53-65]

– Bourgeois Revisionism, What? [3.3.12-23]

– Community Arts [3.3.48-52]

– Conversation: Opacity? [3.3.24-26]

– Denizens of class struggle [3.3.34-38]

– Diagrammata or...In making Friends We Make Our Life (Arthur Mee) [3.3.103-104]

– Don’t Speak of Man’s Potentialities and their being made Actual in Society [3.3.105-106]

– (Education is not putting sight into blind eyes, so...) Back to the Sandbank [3.3.107-109]

– How to avoid assumptions that your good heart gets you there [3.3.39-42]

– Ideology does not penetrate class barriers as a transparent substance
[3.3.27-28]

– International: England 1 (o.g.) USA 1 (o.g.) [3.3.66-72]

– Jobless and Gaga [3.3.43-47]

– Letter to Richard Cork [3.3.Appendix]

– More Unsightly Speculations [3.3.99-102]

– Now, naughty revisionism or no [3.3.29-33]

– Pastels in Prose – if not a Vignette in Verse... [3.3.73-75]

– The problems of displaying base explicit directive ‘assumptions’
[3.3.76-84]

– Provisions and Rules Again [3.3.93-98]

– Shoot the Sodding Ref. [3.3.85-92]

– A tale in the sump oil: notes from under the car; you can’t help them breaking down [3.3.122-125]

– ‘...The Timeless Lumpenness of a Radical Cultural Life...’ [3.3.cover-1]

– Transcript 3.1.76 Plus and Minus [3.3.5-11]

– What’s an ideological boundary then? [3.3.110-114]

– Who said, ‘It is, on the contrary, the bureaucracy which brings the new mode of production into existence’? [3.3.115-119]

– Who’s a little Max Stirner then? [3.3.120-121]

 

Art & Language E

– Above Us the Waves (A Fascist Index) [3.4.63-71]

– Doge City [3.4.49-62]

– The French Disease [3.4.23-34]

– In Contradiction [3.4.10-22]

– Interdisciplinary Studies: Urology, Arachno-didactics [3.4.37-48]

– The Rediscovery of Hazlitt: To Our Knowledgeable Friends, Surrounded by False Homage, Estranged From Real Work [3.4.6-9]

– Semiotique, Hardcore [3.4.35-36]

– Us, Us and Away [3.4.1-5]

 

Art & Language F

– Bad Men Have Some Songs [4.1.38-41]

– The Building Blocks of the University [4.1.42-45]

– Commentary  [4.1.51-55]

– Go through the gatehouse... [4.1.cover-2]

– ‘In Conscience-stricken Wissenschaft...’ [4.1.56-67]

– The Long March from 23rd Street to Highgate Cemetery and Back
[4.1.46-50]

– Return Journey [4.1.5-10]

– Simplicissimus [4.1.11-37]

 

Art & Language G

– Method 1: On the Material Necessity that the Editors of October, its Contributors, Supporters and Relatives, and Particularly, the Arch Fool, the Illiterate Liar Jeremy G. Rolfe, be Sought Out, Their Hands Smashed, Their Eyes Put Out, Their Offices, Ateliers Destroyed, Burned and Portions of the Bloodstained Ashes Sent to the Towering Wretches of French Structuralism [4.2.7-9]

– Method 2: A discussion on the theme that the locutions of the avant-garde artist-intellectual cannot be considered as direct discourse [4.2.10-18]

– Method 3: To examine or attempt criticism of the vagrant, sub-analysable
half-truth the social and professional currency of ideological opportunism...
[4.2.19-41]

– Method 4: The quasi-utilitarian straining of international-style pink contemporary art is a mindless but concerted effort to destroy history; with an illustration given [4.2.42-54]

– Method 5: A Crisis of Liberality for the Decaying Macaroni... [4.2.55-61]

– Method 6: Random complaints [4.2.62-65]

– Method 7: ‘Artists Meeting for Cultural Change’ and ‘Anti-Imperialist Cultural Union’: a history of two cultural organisations, as illustration [4.2.66-81]

– A note on the cover [4.2.3-5]

– Preamble [4.2.6]

 

Art & Language H

– A Note to the Reader [4.3.1-2]

– Ways of Seeing [4.3.passim]

 

Art & Language I

– Abstract Expression [5.1.1-21]

– Art for Society? [4.4.1-25]

– Author and Producer Revisited [5.1.22-31]

– Blue Poles [5.3.passim]

– Implications and Alternatives (Blue Poles) [5.3.71-88]

– Introduction (Blue Poles) [5.3.3-22]

– A Letter to a Canadian Curator [5.1.32-35]

– Modernism (Blue Poles) [5.3.23-41]

– Painting by Mouth [5.1.45-55]

– Portrait of V. I. Lenin [4.4.26-61]

– Representation and Class: A Conjecture (Blue Poles) [5.3.42-70]

– A Souvenir of 1979 [5.1.56-68]

– Three Poems after Friedrich Nietzsche [5.1.36-44]

 

Art & Language J

Victorine – libretto for an opera [5.2.passim]

 

Atkinson, Terry

– Art Teaching [1.4.25-50]

– Concerning Interpretation of the Bainbridge/Hurrell Models [1.2.61-71]

– From an Art & Language Point of View [1.2.25-60]

– Information [2.2.11-20]

– Introduction [1.1.1-10]

– La Pensée avec images [1.4.51-69]

– On the Material-Character/Physical-Object Paradigm of Art [2.1.51-55]

– Unnatural Rules and Excuses [2.1.1-27]

 

Bainbridge, David

– Introduction [1.1.1-10]

– Lupus in Fabula [2.2.32-34]

– Notes on M1 (1) [1.1.19-22]

– Notes on M1 (2) [1.1.30-32]

– ‘Praxisectomy’ and ‘Theoryorraphy’ [2.3.78]

– ‘The Sculpture...’ [1.2.5-7]

 

Baldwin, Michael

– Art Teaching [1.4.25-50]

– General Note. (i)Atkinson and Meaninglessness. (ii) Preface. (iii) Epilogue: Art-Language.

Dead Issues [1.3.30-35]

– Information [2.2.11-20]

– Introduction [1.1.1-10]

– La Pensée avec images [1.4.51-69]

– Notes on M1 [1.1.23-30]

– On the Material-Character/Physical-Object Paradigm of Art [2.1.51-55]

– Plans and Procedures [1.2.14-21]

– Unnatural Rules and Excuses [2.1.1-27]

 

Barthelme, Frederic

– Three from May 23rd, 1969 [1.2.8-10]

 

Bihari, Bernard

– Marshall McLuhan and the Behavioural Sciences [1.3.11-28]

 

Brown, Robert

– Moto-Spiritale [1.2.23-24]

 

Burn, Ian

– Art Language and Art-Language [2.2.21-28]

– Dialogue [1.2.22]

– Four Wages of  Sense [2.1.28-37]

– Problems of Art & Language Space [2.3.53-72]

– Proceedings: Society for Theoretical Art and Analyses [1.3.1-3]

– Some Questions on the Characterization of Questions [2.2.1-10]

 

Cork, Richard

– Letter to Mel Ramsden [3.3.Appendix]

 

Corris, Michael

– The Fine Structure of Collaboration [2.3.34-37]

– Frameworks and Phantoms [2.3.38-52]

 

Cutforth, Roger

– Proceedings: Society for Theoretical Art and Analyses [1.3.1-3]

 

Graham, Dan

– Poem-schema [1.1.14-15]

 

Hemmings, John F.

– Note on Reading 1969-1972 [2.3.73-77]

 

Hirons, David

– Moto-Spiritale [1.2.23-24]

 

Howard, Graham

– Accessibility and Conceivability [1.4.23-24]

– Actuality and Potentiality [1.4.16-22]

– Concerning Some Theories and their Worlds [1.3.7-8]

– Disinterest Relationships, etc. [2.3.10-11]

– Interest Relationships, etc. [2.3.8-9]

– Mona Lisas [1.3.9-10]

– Ontological Relativity: a Note [2.1.56-57]

– Revelation and Art [1.4.6-15]

– Some Formalities of Technic Relationships [2.3.1-7]

 

Hurrell, Harold

– Interim Remarks [2.2.29-30]

– Introduction [1.1.1-10]

– Notes on Atkinson’s ‘Concerning Interpretation of the Bainbridge/Hurrell Models’ [1.2.72-73]

– Sculptures and Devices [1.2.74-76]

 

Issue Group

– Method 8: An abbreviated account by some students at Trent Polytechnic of the occupation of the Administration block of the School of Art and Design in March 1977, as illustration [4.2.82-87]

 

Knight, Stuart

– Theory, Knowledge and Hermeneutics [1.4.1-5]

 

Kosuth, Joseph

– Introductory Note by the American Editor [1.2.1-4]

 

LeWitt, Sol

– Sentences on conceptual art [1.1.11-13]

 

Lole, Kevin

– Aspects of Authorities [2.1.38-50]

 

McKenna, Stephen

– Notes on Marat [1.2.11-13]

 

Pilkington, Philip

– Aspects of Authorities [2.1.38-50]

– Bibliotherapy [2.3.18-33]

– Models and Indexes: Fringe Benefits [2.3.12-17]

 

Ramsden, Mel

– Art Enquiry (2) [1.3.4-6]

– Art Language and Art-Language [2.2.21-28]

– Four Wages of  Sense [2.1.28-37]

– Frameworks and Phantoms [2.3.38-52]

– Letter to Richard Cork [3.3.Appendix]

– Notes on Genealogies [1.2.84-88]

– A Preliminary Proposal for the Directing of Perception [1.3.29]

– Problems of Art & Language Space [2.3.53-72]

– Proceedings: Society for Theoretical Art and Analyses  [1.3.1-3]

– Some Questions on the Characterization of Questions [2.2.1-10]

 

Rushton, David

– Aspects of Authorities [2.1.38-50]

– Bibliotherapy [2.3.18-33]

– Models and Indexes: Fringe Benefits [2.3.12-17]

 

Thompson, Michael

– Conceptual Art: Category and Action [1.2.77-83]

 

Weiner, Lawrence

– Statements [1.1.17-18]

ALPHABÉTIQUE PAR TITRE

 

– Above Us the Waves (A Fascist Index) (Art & Language E) [3.4.63-71]

– Abstract Art (Art & Language D) [3.3.53-65]

– Abstract Expression (Art & Language I) [5.1.1-21]

– Accessibility and Conceivability (Howard) [1.4.23-24]

– Accidental Synopsis (Art & Language C) [3.2.93-94]

– Actuality and Potentiality (Howard) [1.4.16-22]

– A-L and me...what I know, care about...Going-on as Grammar. No money, no prospects... Fear... Starvation... (Art & Language A) [2.4.1-6]

– Annotations...Selective Memory (Histrionics?)...
(Art & Language B) [3.1.15-17]

– Apodictic Tableaux (Art & Language B) [3.1.10-12]

– Art and Language (Art & Language A) [2.4.45-50]

– Art and Language (Art & Language C) [3.2.41]

– Art Enquiry (2) (Ramsden) [1.3.4-6]

– Art for Society? (Art & Language I) [4.4.1-25]

– Art Language and Art-Language (Burn and Ramsden) [2.2.21-28]

– Art Teaching (Atkinson and Baldwin) [1.4.25-50]

– Art-Career Components (Art & Language B) [3.1.87-89]

– Aspects of Authorities (Pilkington, Rushton, Lole) [2.1.38-50]

– Author and Producer Revisited (Art & Language I) [5.1.22-31]

 

– Bad Men Have Some Songs (Art & Language F) [4.1.38-41]

– Bibliotherapy (Pilkington and Rushton) [2.3.18-33]

– Blue Poles (Art & Language I) [5.3.passim]

– Bourgeois Revisionism, What? (Art & Language D) [3.3.12-23]

– Brainstorming – New York (Art & Language C) [3.2.31-40]

– Brainstorm Proposal (Art & Language A) [2.4.16-25]

– The Building Blocks of the University (Art & Language F) [4.1.42-45]

– Bureaucracy...(Art & Language B) [3.1.20]

– Bxal-ing (Art & Language B) [3.1.76-79]

 

– Cacophonous...(Art & Language B) [3.1.18-19]

– Caution (Art & Language B) [3.1.1]

– Commentary (Art & Language F) [4.1.51-55]

– Community Arts (Art & Language D) [3.3.48-52]

– Community Work (Art & Language C) [3.2.44-45]

– ...Concatenation...(Art & Language B) [3.1.74-75]

– Conceptual Art: Category and Action (Thompson ) [1.2.77-83]

– Concerning Interpretation of the Bainbridge/Hurrell Models (Atkinson) [1.2.61-71]

– Concerning Some Theories and their Worlds (Howard) [1.3.7-8]

– ‘Consistency’ is an Ideological Postulate (Art & Language B) [3.1.44-47]

– Conversation: Opacity? (Art & Language D) [3.3.24-26]

– ...Corpse of Official Language (Art & Language B) [3.1.69-70]

 

– Data Blank, December 1973 (Art & Language A) [2.4.15]

– Dead Horse...(Art & Language B) [3.1.48-49]

– Dear... (Art & Language A) [2.4.15]

– Denizens of class struggle (Art & Language D) [3.3.34-38]

– Diagrammata or...In making Friends We Make Our Life (Arthur Mee)

(Art & Language D) [3.3.103-104]

– Dialogue (Burn) [1.2.22]

– Disinterest Relationships, etc. (Howard) [2.3.10-11]

– Do we have anything like ‘Assertion’? (Art & Language B) [3.1.37-41]

– Doge City (Art & Language E) [3.4.49-62]

– Don’t Speak of Man's Potentialities and their being made Actual in Society

(Art & Language D) [3.3.105-106]

 

– (Education is not putting sight into blind eyes, so...) Back to the Sandbank

(Art & Language D) [3.3.107-109]

– Endless Revisability...(Art & Language B) [3.1.80-82]

– Equivocating...(Art & Language B) [3.1.64-67]

– Exploitation... Education...(Art & Language B) [3.1.101-103]

 

– The Fine Structure of Collaboration (Corris) [2.3.34-37]

– For Thomas Hobbes – I (Art & Language C) [3.2.1-6]

– Four Wages of  Sense (Burn and Ramsden) [2.1.28-37]

– Fragment from Contemporanea Index (Art & Language A) [2.4.37]

– Frameworks and Phantoms (Corris and Ramsden)  [2.3.38-52]

– The French Disease (Art & Language E) [3.4.23-34]

– From an Art & Language Point of View (Atkinson) [1.2.25-60]

– Fur Teacups (Art & Language B) [3.1.60-61]

– Further Points of Reference (Art & Language A) [2.4.126-130]

 

– General Note. (i)Atkinson and Meaninglessness. (ii)Preface. (iii) Epilogue: Art-Language. Dead Issues (Baldwin) [1.3.30-35]

– Go through the gatehouse... (Art & Language F) [4.1.cover-2]

 

– How to avoid assumptions that your good heart gets you There (Art & Language D) [3.3.39-42]

 

– Ideal Speakers... (Art & Language B) [3.1.13-14]

– Ideology does not penetrate class barriers as a transparent Substance (Art & Language D) [3.3.27-28]

– Implications and Alternatives (Blue Poles) (Art & Language I) [5.3.71-88]

– ‘In Conscience-stricken Wissenschaft...’ (Art & Language F) [4.1.56-67]

– In Contradiction (Art & Language E) [3.4.10-22]

– Information (Atkinson and Baldwin) [2.2.11-20]

– Institutional Serenity (Art & Language B) [3.1.32-35]

– Instruction Index a x (Art & Language A) [2.4.73-99]

– Instruction Index b x (Art & Language A) [2.4.100-123]

– Interdisciplinary Studies: Urology, Arachnodidactics (Art & Language E) [3.4.37-48]

– Interest Relationships, etc. (Howard) [2.3.8-9]

– Interim Remarks (Hurrell) [2.2.29-30]

– International: England 1 (o.g.) USA 1 (o.g.) (Art & Language D)
[3.3.66-72]

– Introduction (Atkinson, Bainbridge, Baldwin, Hurrell) [1.1.1-10]

– Introduction (Blue Poles) (Art & Language I) [5.3.3-22]

– Introductory Note by the American Editor (Kosuth) [1.2.1-4]

– Iteration (Art & Language B) [3.1.50]

 

– Jobless and Gaga (Art & Language D) [3.3.43-47]

– Joseph Kosuth says that the group is a Cultural Ghetto (Art & Language B) [3.1.54-56]

 

– La Pensée avec images (Atkinson and Baldwin) [1.4.51-69]

– Language has a Hold on us (Art & Language B) [3.1.5-7]

– Leftish Critique (Art & Language B) [3.1.106-108]

– A Letter to a Canadian Curator (Art & Language I) [5.1.32-35]

– Letter to Mel Ramsden (Cork) [3.3.Appendix]

– Letter to Richard Cork (Ramsden) [3.3.Appendix]

– Little Grey Rabbit Goes to the Sea (Art & Language C) [3.2.59-62]

– A ‘Logic’ of Going-On? (Art & Language B) [3.1.36]

– The Long March from 23rd Street to Highgate Cemetery and Back
(Art & Language F) [4.1.46-50]

– Lupus in Fabula (Bainbridge) [2.2.32-34]

 

– Market Relations (Art & Language B) [3.1.8-9]

– Marshall McLuhan and the Behavioural Sciences (Bihari) [1.3.11-28]

– Method 1: On the Material Necessity that the Editors of October, its Contributors, Supporters and Relatives, and Particularly, the Arch Fool, the Illiterate Liar Jeremy

G. Rolfe, be Sought Out, Their Hands Smashed, Their Eyes Put Out, Their Offices, Ateliers Destroyed, Burned and Portions of the Bloodstained Ashes Sent to the Towering Wretches of French Structuralism (Art & Language G) [4.2.7-9]

– Method 2: A discussion on the theme that the locutions of the avant-garde artist-intellectual cannot be considered as direct discourse (Art & Language G) [4.2.10-18]

– Method 3: To examine or attempt criticism of the vagrant, sub-analysable half-truth – the social and professional currency of ideological opportunism... (Art & Language G) [4.2.19-41]

– Method 4: The quasi-utilitarian straining of international-style pink contemporary art is a mindless but concerted effort to destroy history; with an illustration given

(Art & Language G) [4.2.42-54]

– Method 5: A Crisis of Liberality for the Decaying Macaroni... (Art & Language G) [4.2.55-61]

– Method 6: Random complaints (Art & Language G) [4.2.62-65]

– Method 7: ‘Artists Meeting for Cultural Change’ and ‘Anti-Imperialist Cultural Union’: a history of two cultural organisations, as illustration (Art & Language G) [4.2.66-81]

– Method 8: An abbreviated account by some students at Trent Polytechnic of the occupation of the Administration Block of the School of Art and Design in March 1977,

as illustration (Issue Group) [4.2.82-87]

– Modeish about Cultural Indeterminacy (Art & Language B) [3.1.98-100]

– Models and Indexes: Fringe Benefits (Pilkington and Rushton) [2.3.12-17]

– Modernism (Blue Poles) (Art & Language I) [5.3.23-41]

– Mona Lisas (Howard) [1.3.9-10]

– More Exhortations? (Art & Language B) [3.1.51-53]

– More Unsightly Speculations (Art & Language D) [3.3.99-102]

– Moto-Spiritale (Brown and Hirons) [1.2.23-24]

– ‘Mr. Lin Yutang Refers to “Fair Play”...?’ (Art & Language C) [3.2.68-80]

– My Amazed Admiration (...of the Subtle Complexity Reached by Western Capitalism) (Art & Language C) [3.2.87-88]

 

– No Refuge in ‘Audience’... (Art & Language B) [3.1.23-26]

– Note on Reading 1969-1972 (Hemmings) [2.3.73-77]

– A note on the cover (Art & Language G) [4.2.3-5]

– A Note to the Reader (Art & Language H) [4.3.1-2]

– Notes on Atkinson’s ‘Concerning Interpretation of the Bainbridge/Hurrell

Models’ (Hurrell) [1.2.72-73]

– Notes on Genealogies (Ramsden) [1.2.84-88]

– Notes on M1 (1) (Bainbridge) [1.1.19-22]

– Notes on M1 (2) (Bainbridge) [1.1.30-32]

– Notes on M1 (Baldwin) [1.1.23-30]

– Notes on Marat (McKenna) [1.2.11-13]

– Now, naughty revisionism or no (Art & Language D) [3.3.29-33]

 

– The Old Gourmet (Transcript) (Art & Language A) [2.4.62-70]

– On the Embarrassing Dangers of Banishing 12-Tone Music
(Art & Language C) [3.2.95]

– On the Material-Character/Physical-Object Paradigm of Art

(Atkinson and Baldwin) [2.1.51-55]

– Ontological Relativity: a Note (Howard) [2.1.56-57]

– ...Overboard about Kierkegaard (Art & Language B) [3.1.57-59]

– Overview – The Paradox of the Heap of Stones
(Art & Language C) [3.2.63-64]

 

– Painting by Mouth (Art & Language I) [5.1.45-55]

– Pastels in Prose – if not a Vignette in Verse...
(Art & Language D) [3.3.73-75]

– Pedagogical Sketchbook (AL) (Art & Language C) [3.2.20-30]

– Plans and Procedures (Baldwin) [1.2.14-21]

– Poem-schema (Graham) [1.1.14-15]

– Points of Order? (Art & Language B) [3.1.21-22]

– Points of Reference, the Hope of Ideology
(Art & Language A) [2.4.40-44]

– Portrait of V. I. Lenin (Art & Language I) [4.4.26-61]

– ‘Praxisectomy’ and ‘Theoryorraphy’ (Bainbridge) [2.3.78]

– Preamble (Art & Language G) [4.2.6]

– A Preliminary Proposal for the Directing of Perception (Ramsden) [1.3.29]

– Problems of Art & Language Space (Burn and Ramsden) [2.3.53-72]

– The problems of displaying base explicit directive ‘assumptions’

(Art & Language D) [3.3.76-84]

– Proceedings M2 (Art & Language A) [2.4.71-72]

– Proceedings: Society for Theoretical Art and Analyses (Burn, Cutforth and Ramsden) [1.3.1-3]

– Provisions and Rules Again (Art & Language D) [3.3.93-98]

 

– Rambling: To Partial Correspondents (Art & Language C) [3.2.46-51]

– Redemption not Adaptation (Art & Language A) [2.4.7-14]

– The Rediscovery of Hazlitt: To Our Knowledgeable Friends, Surrounded by False Homage, Estranged From Real Work (Art & Language E) [3.4.6-9]

– Representation and Class: A Conjecture (Blue Poles) (Art & Language I) [5.3.42-70]

– Return Journey (Art & Language F) [4.1.5-10]

– Revelation and Art (Howard) [1.4.6-15]

– A Review of Styles (Art & Language C) [3.2.7-12]

– Routine... (Art & Language B) [3.1.68]

 

– ‘The Sculpture...’ (Bainbridge) [1.2.5-7]

– Sculptures and Devices (Hurrell) [1.2.74-76]

– Semiotique, Hardcore (Art & Language E) [3.4.35-36]

– Sentences on conceptual art (LeWitt) [1.1.11-13]

– Shoot the Sodding Ref. (Art & Language D) [3.3.85-92]

– Shop-Floorish? (Art & Language B) [3.1.104-105]

– Simplicissimus (Art & Language F) [4.1.11-37]

– Slogan Adaptation (Art & Language C) [3.2.65-67]

– Some Formalities of Technic Relationships (Howard) [2.3.1-7]

– Some Questions on the Characterization of Questions (Burn and Ramsden) [2.2.1-10]

– ‘Sometimes I feel like an Artist...’ (Art & Language B) [3.1.27-31]

– Somewhere to Begin (Art & Language B) [3.1.2-4]

– A Souvenir of 1979 (Art & Language I) [5.1.56-68]

– Sporadic Encounter (Art & Language B) [3.1.109-110]

– ‘The statement that there is a body of dialectical discourse...’
(Art & Language A) [2.4.124]

– Statements (Weiner) [1.1.17-18]

– Straight Talk? (Art & Language B) [3.1.62-63]

– Strategy is Political: Dear M... (Art & Language C) [3.2.81-86]

– Striving in the Uproar (Art & Language B) [3.1.83-86]

 

– A tale in the sump oil: notes from under the car; you can’t help them breaking down (Art & Language D) [3.3.122-125]

– Theory, Knowledge and Hermeneutics (Knight) [1.4.1-5]

– Three from May 23rd, 1969 (Barthelme) [1.2.8-10]

– Three Poems after Friedrich Nietzsche (Art & Language I) [5.1.36-44]

– ‘...The Timeless Lumpenness of a Radical Cultural Life...’ (Art &Language D) [3.3.cover-1]

– ‘To Begin With, While I am Clearly a Marxist Sympathizer...’
(Art & Language C) [3.2.13-19]

– Transcript 3.1.76 Plus and Minus (Art & Language D) [3.3.5-11]

 

– Unnatural Rules and Excuses (Atkinson and Baldwin) [2.1.1-27]

– The Unreality of this Culture (Art & Language B) [3.1.90-97]

– Uplifting Public Utterance (Art & Language A) [2.4.35]

– Us, Us and Away (Art & Language E) [3.4.1-5]

– Utopian Prayers and Infantile Marxism (Art & Language C) [3.2.89-92]

 

– Vector and Magnitude (Art & Language A) [2.4.34]

– Victorine – libretto for an opera (Art & Language J) [5.2.passim]

– Violins and Cows (Art & Language A) [2.4.1-6]

– Vulgar and Popular Opinions (Art & Language C) [3.2.52-58]

 

– Ways of Seeing (Art & Language H) [4.3.passim]

– We wish they had a Dictionary (Art & Language B) [3.1.71-73]

– What are we doing in Language? (Art & Language B) [3.1.42-43]

– What’s an ideological boundary then? (Art & Language D) [3.3.110-114]

– ‘Whether there exists, or has existed an ‘ideological’ person...’ (Art & Language A) [2.4.36]

– Who said, ‘It is, on the contrary, the bureaucracy which brings the new mode of production into existence’? (Art & Language D) [3.3.115-119]

– Who’s a little Max Stirner then? (Art & Language D) [3.3.120-121]

– Why J.Kosuth Won’t Work for Us & Other Trivia (Art & Language A) [2.4.51-61]

 

 

 

INTRODUCTION TO THE FACSIMILE EDITION

 

This reprint is made in response to a growing demand for issues of Art-Language which are out of print and increasingly hard to find. The edition comprises all nineteen issues of the first series.  All are reproduced in fascimile; none has been re-edited.  Vol. 2 No. 4  (March 1974), Vol. 3 No. 1 (September 1974) and Vol. 3 No. 2 (May 1975) were originally printed in A4 format.  They are now reduced to appear in the standard A5 format of all the other issues.

 

Art-Language commenced publication in May 1969. The original editors were Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Joseph Kosuth was listed as ‘American Editor’ on Vol. 1 Nos. 2 and 3 (February and June 1970). An Editorial Board consisting of Terry Atkinson, David Bainbridge, Michael Baldwin, Ian Burn, Charles Harrison, Harold Hurrell, Joseph Kosuth, Philip Pilkington, Mel Ramsden and David Rushton was formed in the autumn of 1971. It is named in Vol. 2 No. 2 (Summer 1972) and, with the addition of Graham Howard, in Vol. 2 No. 3 (September 1973). Charles Harrison was General Editor for Vol. 1 No. 4 (November 1971) and for all subsequent issues except Vol. 3 No. 1 (September 1974), which was edited in New York by Ian Burn, Mel Ramsden and Terry Smith.

 

The first issue of Art-Language (Vol.1 No.1, May 1969) is subtitled ‘The Journal of Conceptual Art’. By the second issue (Vol.1 No. 2, February 1970) it had become clear that there was some Conceptual Art and more Conceptual artists for whom and to whom the journal did not speak. The inscription was therefore abandoned. Art-Language had, however, laid claim to a purpose and to a constituency. It was the first imprint to identify a public entity called ‘Conceptual Art’ and the first to serve the theoretical and conversational interests of a community of artists and critics who were its producers and users. While that community was far from unanimous as to the nature of Conceptual Art, the views of the editors and most of the early contributors shared a powerful family resemblance. Conceptual Art was critical of Modernism for its bureaucracy and its historicism and of Minimalism for its philosophical conservatism. The practice of Conceptual Art was primarily theory and its form prepon-derantly textual.

 

Conceptual Art is now well represented in both historical and analytical anthologies. While these rarely essay a well-formed synthesis, the requirements of coherence and extensibility provide conditions for cultural and historical tidying-up and occasionally for anachronistic exegeses and for exercises in meaningless philosophical hygene. The material reproduced in this reprint is often untidy, multivocal, inchoate, tendentious, conversational and obscure.  With certain exceptions, it is inadmissable to the agendas of the art-world, an anomaly and an inconvenience for those who seek an historical overview. These texts do not narrate a steady process of purification, nor do they go unproblematically to its postmodern others. They attest instead to the puzzles, problems, work and scandal with which Art & Language has transformed itself and by which it has been transformed.

 

The first issue of Art-Language New Series was published by Art & Language in June 1994. The New Series is not included in this edition.

 

Art & Language (Michael Baldwin, Mel Ramsden, Charles Harrison)

 

 

INDEX TO VOLUMES 1 TO 5, MAY 1969 – MARCH 1985

 

In the following index, the attribution of texts to ‘Art & Language’ reflects a convention of relative anonymity which was established from Vol. 2 No 4 (June 1974). While the agency of the anonymous contributors varied from issue to issue, ten authorial configurations are covered by this attribution.

 

A: Michael Baldwin, Philip Pilkington

B: Ian Burn, Mel Ramsden, Terry Smith

C: Michael Baldwin, Ian Burn, Charles Harrison, Sandra Harrison, Philip Pilkington, Mel Ramsden

D: Michael Baldwin, Charles Harrison, Harold Hurrell

E: Michael Baldwin, Kathryn Bigelow, Mel Ramsden, Mayo Thompson

F: Michael Baldwin, Charles Harrison, Philip Pilkington, Mel Ramsden

G: Michael Baldwin, Charles Harrison, Philip Pilkington, Mel Ramsden, Mayo Thompson

H: Michael Baldwin, Charles Harrison, Sandra Harrison, Lynn Lemaster, Philip Pilkington, Mel Ramsden

I: Michael Baldwin, Charles Harrison, Mel Ramsden

J: Michael Baldwin, Charles Harrison, Mel Ramsden, Mayo Thompson.        

 

In certain issues those engaged in conversation with the actual authors are listed variously – and in a spirit of solidarity – under the headings ‘Contributors’ (Vol. 3 No. 1, September 1974), ‘Author Hearsay’ (Vol. 3 No 2, May 1975) and ‘we’ (Appendix to Vol. 3 No 3, June 1976).

 

In Vol. 3 No 3 and Vol. 3 No 4 (October 1976) the publisher is designated as ‘Art & Language (P)’ and ‘Art & Language (i)’ respectively. These designations were adopted at the time so as to register a continuing identity for Art & Language and to prevent confusion with the then defunct ‘Art & Language Foundation Inc.’, which had been formed to publish The Fox in New York in 1975-76.

 

The New Series of Art-Language is not covered in this index.

 

 

ALPHABETICAL BY AUTHOR

 

Art & Language A

– A-L and me...what I know, care about... Going-on as Grammar. No money, no prospects... Fear... Starvation... [2.4.1-6]

– Art and Language [2.4.45-50]

– Brainstorm Proposal [2.4.16-25]

– Data Blank, December 1973 [2.4.15]

– Dear... [2.4.15]

– Fragment from Contemporanea Index [2.4.37]

– Further Points of Reference [2.4.126-130]

– Instruction Index a x [2.4.73-99]

– Instruction Index b x [2.4.100-123]

– The Old Gourmet (Transcript) [2.4.62-70]

– Points of Reference, the Hope of Ideology [2.4.40-44]

– Proceedings M2 [2.4.71-72]

– Redemption not Adaptation [2.4.7-14]

– ‘The statement that there is a body of dialectical discourse...’ [2.4.124]

– Uplifting Public Utterance [2.4.35]

– Vector and Magnitude [2.4.34]

– Violins and Cows [2.4.1-6]

– ‘Whether there exists, or has existed an ‘ideological’ person...’ [2.4.36]

– Why J.Kosuth Won't Work for Us & Other Trivia [2.4.51-61]

 

Art & Language B

– Annotations...Selective Memory (Histrionics?)... [3.1.15-17]

– Apodictic Tableaux [3.1.10-12]

– Art-Career Components [3.1.87-89]

– Bureaucracy... [3.1.20]

– Bxal-ing [3.1.76-79]

– Cacophonous... [3.1.18-19]

– Caution [3.1.1]

– ...Concatenation... [3.1.74-75]

– ‘Consistency’ is an Ideological Postulate [3.1.44-47]

– ...Corpse of Official Language [3.1.69-70]

– Dead Horse... [3.1.48-49]

– Do we have anything like ‘Assertion’? [3.1.37-41]

– Endless Revisability... [3.1.80-82]

– Equivocating... [3.1.64-67]

– Exploitation... Education... [3.1.101-103]

– Fur Teacups [3.1.60-61]

– Ideal Speakers... [3.1.13-14]

– Institutional Serenity [3.1.32-35]

– Iteration [3.1.50]

– Joseph Kosuth says that the group is a Cultural Ghetto [3.1.54-5]

– Language has a Hold on us [3.1.5-7]

– Leftish Critique [3.1.106-108]

– A ‘Logic’ of Going-On? [3.1.36]

– Market Relations [3.1.8-9]

– Modeish about Cultural Indeterminacy [3.1.98-100]

– More Exhortations? [3.1.51-53]

– No Refuge in ‘Audience’... [3.1.23-26]

– ...Overboard about Kierkegaard [3.1.57-59]

– Points of Order? [3.1.21-22]

– Routine... [3.1.68]

– Shop-Floorish? [3.1.104-105]

– ‘Sometimes I feel like an Artist...’ [3.1.27-31]

– Somewhere to Begin [3.1.2-4]

– Sporadic Encounter [3.1.109-110]

– Straight Talk? [3.1.62-63]

– Striving in the Uproar [3.1.83-86]

– The Unreality of this Culture [3.1.90-97]

– We wish they had a Dictionary [3.1.71-73]

– What are we doing in Language? [3.1.42-43]

 

Art & Language C

– Accidental Synopsis [3.2.93-94]

– Art and Language [3.2.41]

– Brainstorming – New York [3.2.31-40]

– Community Work [3.2.44-45]

– For Thomas Hobbes – I [3.2.1-6]

– Little Grey Rabbit Goes to the Sea [3.2.59-62]

– ‘Mr. Lin Yutang Refers to “Fair Play”...?’ [3.2.68-80]

– My Amazed Admiration (...of the Subtle Complexity Reached by Western Capitalism) [3.2.87-88]

– On the Embarrassing Dangers of Banishing 12 – Tone Music [3.2.95]

– Overview – The Paradox of the Heap of Stones [3.2.63-64]

– Pedagogical Sketchbook (AL) [3.2.20-30]

– Rambling: To Partial Correspondents [3.2.46-51]

– A Review of Styles [3.2.7-12]

– Slogan Adaptation [3.2.65-67]

– Strategy is Political: Dear M... [3.2.81-86]

– ‘To Begin With, While I am Clearly a Marxist Sympathizer...’ [3.2.13-19]

– Utopian Prayers and Infantile Marxism [3.2.89-92]

– Vulgar and Popular Opinions [3.2.52-58]

 

Art & Language D

– Abstract Art [3.3.53-65]

– Bourgeois Revisionism, What? [3.3.12-23]

– Community Arts [3.3.48-52]

– Conversation: Opacity? [3.3.24-26]

– Denizens of class struggle [3.3.34-38]

– Diagrammata or...In making Friends We Make Our Life (Arthur Mee) [3.3.103-104]

– Don’t Speak of Man’s Potentialities and their being made Actual in Society [3.3.105-106]

– (Education is not putting sight into blind eyes, so...) Back to the Sandbank [3.3.107-109]

– How to avoid assumptions that your good heart gets you there [3.3.39-42]

– Ideology does not penetrate class barriers as a transparent substance
[3.3.27-28]

– International: England 1 (o.g.) USA 1 (o.g.) [3.3.66-72]

– Jobless and Gaga [3.3.43-47]

– Letter to Richard Cork [3.3.Appendix]

– More Unsightly Speculations [3.3.99-102]

– Now, naughty revisionism or no [3.3.29-33]

– Pastels in Prose – if not a Vignette in Verse... [3.3.73-75]

– The problems of displaying base explicit directive ‘assumptions’
[3.3.76-84]

– Provisions and Rules Again [3.3.93-98]

– Shoot the Sodding Ref. [3.3.85-92]

– A tale in the sump oil: notes from under the car; you can’t help them breaking down [3.3.122-125]

– ‘...The Timeless Lumpenness of a Radical Cultural Life...’ [3.3.cover-1]

– Transcript 3.1.76 Plus and Minus [3.3.5-11]

– What’s an ideological boundary then? [3.3.110-114]

– Who said, ‘It is, on the contrary, the bureaucracy which brings the new mode of production into existence’? [3.3.115-119]

– Who’s a little Max Stirner then? [3.3.120-121]

 

Art & Language E

– Above Us the Waves (A Fascist Index) [3.4.63-71]

– Doge City [3.4.49-62]

– The French Disease [3.4.23-34]

– In Contradiction [3.4.10-22]

– Interdisciplinary Studies: Urology, Arachno-didactics [3.4.37-48]

– The Rediscovery of Hazlitt: To Our Knowledgeable Friends, Surrounded by False Homage, Estranged From Real Work [3.4.6-9]

– Semiotique, Hardcore [3.4.35-36]

– Us, Us and Away [3.4.1-5]

 

Art & Language F

– Bad Men Have Some Songs [4.1.38-41]

– The Building Blocks of the University [4.1.42-45]

– Commentary  [4.1.51-55]

– Go through the gatehouse... [4.1.cover-2]

– ‘In Conscience-stricken Wissenschaft...’ [4.1.56-67]

– The Long March from 23rd Street to Highgate Cemetery and Back
[4.1.46-50]

– Return Journey [4.1.5-10]

– Simplicissimus [4.1.11-37]

 

Art & Language G

– Method 1: On the Material Necessity that the Editors of October, its Contributors, Supporters and Relatives, and Particularly, the Arch Fool, the Illiterate Liar Jeremy G. Rolfe, be Sought Out, Their Hands Smashed, Their Eyes Put Out, Their Offices, Ateliers Destroyed, Burned and Portions of the Bloodstained Ashes Sent to the Towering Wretches of French Structuralism [4.2.7-9]

– Method 2: A discussion on the theme that the locutions of the avant-garde artist-intellectual cannot be considered as direct discourse [4.2.10-18]

– Method 3: To examine or attempt criticism of the vagrant, sub-analysable
half-truth the social and professional currency of ideological opportunism...
[4.2.19-41]

– Method 4: The quasi-utilitarian straining of international-style pink contemporary art is a mindless but concerted effort to destroy history; with an illustration given [4.2.42-54]

– Method 5: A Crisis of Liberality for the Decaying Macaroni... [4.2.55-61]

– Method 6: Random complaints [4.2.62-65]

– Method 7: ‘Artists Meeting for Cultural Change’ and ‘Anti-Imperialist Cultural Union’: a history of two cultural organisations, as illustration [4.2.66-81]

– A note on the cover [4.2.3-5]

– Preamble [4.2.6]

 

Art & Language H

– A Note to the Reader [4.3.1-2]

– Ways of Seeing [4.3.passim]

 

Art & Language I

– Abstract Expression [5.1.1-21]

– Art for Society? [4.4.1-25]

– Author and Producer Revisited [5.1.22-31]

– Blue Poles [5.3.passim]

– Implications and Alternatives (Blue Poles) [5.3.71-88]

– Introduction (Blue Poles) [5.3.3-22]

– A Letter to a Canadian Curator [5.1.32-35]

– Modernism (Blue Poles) [5.3.23-41]

– Painting by Mouth [5.1.45-55]

– Portrait of V. I. Lenin [4.4.26-61]

– Representation and Class: A Conjecture (Blue Poles) [5.3.42-70]

– A Souvenir of 1979 [5.1.56-68]

– Three Poems after Friedrich Nietzsche [5.1.36-44]

 

Art & Language J

Victorine – libretto for an opera [5.2.passim]

 

Atkinson, Terry

– Art Teaching [1.4.25-50]

– Concerning Interpretation of the Bainbridge/Hurrell Models [1.2.61-71]

– From an Art & Language Point of View [1.2.25-60]

– Information [2.2.11-20]

– Introduction [1.1.1-10]

– La Pensée avec images [1.4.51-69]

– On the Material-Character/Physical-Object Paradigm of Art [2.1.51-55]

– Unnatural Rules and Excuses [2.1.1-27]

 

Bainbridge, David

– Introduction [1.1.1-10]

– Lupus in Fabula [2.2.32-34]

– Notes on M1 (1) [1.1.19-22]

– Notes on M1 (2) [1.1.30-32]

– ‘Praxisectomy’ and ‘Theoryorraphy’ [2.3.78]

– ‘The Sculpture...’ [1.2.5-7]

 

Baldwin, Michael

– Art Teaching [1.4.25-50]

– General Note. (i)Atkinson and Meaninglessness. (ii) Preface. (iii) Epilogue: Art-Language.

Dead Issues [1.3.30-35]

– Information [2.2.11-20]

– Introduction [1.1.1-10]

– La Pensée avec images [1.4.51-69]

– Notes on M1 [1.1.23-30]

– On the Material-Character/Physical-Object Paradigm of Art [2.1.51-55]

– Plans and Procedures [1.2.14-21]

– Unnatural Rules and Excuses [2.1.1-27]

 

Barthelme, Frederic

– Three from May 23rd, 1969 [1.2.8-10]

 

Bihari, Bernard

– Marshall McLuhan and the Behavioural Sciences [1.3.11-28]

 

Brown, Robert

– Moto-Spiritale [1.2.23-24]

 

Burn, Ian

– Art Language and Art-Language [2.2.21-28]

– Dialogue [1.2.22]

– Four Wages of  Sense [2.1.28-37]

– Problems of Art & Language Space [2.3.53-72]

– Proceedings: Society for Theoretical Art and Analyses [1.3.1-3]

– Some Questions on the Characterization of Questions [2.2.1-10]

 

Cork, Richard

– Letter to Mel Ramsden [3.3.Appendix]

 

Corris, Michael

– The Fine Structure of Collaboration [2.3.34-37]

– Frameworks and Phantoms [2.3.38-52]

 

Cutforth, Roger

– Proceedings: Society for Theoretical Art and Analyses [1.3.1-3]

 

Graham, Dan

– Poem-schema [1.1.14-15]

 

Hemmings, John F.

– Note on Reading 1969-1972 [2.3.73-77]

 

Hirons, David

– Moto-Spiritale [1.2.23-24]

 

Howard, Graham

– Accessibility and Conceivability [1.4.23-24]

– Actuality and Potentiality [1.4.16-22]

– Concerning Some Theories and their Worlds [1.3.7-8]

– Disinterest Relationships, etc. [2.3.10-11]

– Interest Relationships, etc. [2.3.8-9]

– Mona Lisas [1.3.9-10]

– Ontological Relativity: a Note [2.1.56-57]

– Revelation and Art [1.4.6-15]

– Some Formalities of Technic Relationships [2.3.1-7]

 

Hurrell, Harold

– Interim Remarks [2.2.29-30]

– Introduction [1.1.1-10]

– Notes on Atkinson’s ‘Concerning Interpretation of the Bainbridge/Hurrell Models’ [1.2.72-73]

– Sculptures and Devices [1.2.74-76]

 

Issue Group

– Method 8: An abbreviated account by some students at Trent Polytechnic of the occupation of the Administration block of the School of Art and Design in March 1977, as illustration [4.2.82-87]

 

Knight, Stuart

– Theory, Knowledge and Hermeneutics [1.4.1-5]

 

Kosuth, Joseph

– Introductory Note by the American Editor [1.2.1-4]

 

LeWitt, Sol

– Sentences on conceptual art [1.1.11-13]

 

Lole, Kevin

– Aspects of Authorities [2.1.38-50]

 

McKenna, Stephen

– Notes on Marat [1.2.11-13]

 

Pilkington, Philip

– Aspects of Authorities [2.1.38-50]

– Bibliotherapy [2.3.18-33]

– Models and Indexes: Fringe Benefits [2.3.12-17]

 

Ramsden, Mel

– Art Enquiry (2) [1.3.4-6]

– Art Language and Art-Language [2.2.21-28]

– Four Wages of  Sense [2.1.28-37]

– Frameworks and Phantoms [2.3.38-52]

– Letter to Richard Cork [3.3.Appendix]

– Notes on Genealogies [1.2.84-88]

– A Preliminary Proposal for the Directing of Perception [1.3.29]

– Problems of Art & Language Space [2.3.53-72]

– Proceedings: Society for Theoretical Art and Analyses  [1.3.1-3]

– Some Questions on the Characterization of Questions [2.2.1-10]

 

Rushton, David

– Aspects of Authorities [2.1.38-50]

– Bibliotherapy [2.3.18-33]

– Models and Indexes: Fringe Benefits [2.3.12-17]

 

Thompson, Michael

– Conceptual Art: Category and Action [1.2.77-83]

 

Weiner, Lawrence

– Statements [1.1.17-18]

 

ALPHABETICAL BY TITLE

 

– Above Us the Waves (A Fascist Index) (Art & Language E) [3.4.63-71]

– Abstract Art (Art & Language D) [3.3.53-65]

– Abstract Expression (Art & Language I) [5.1.1-21]

– Accessibility and Conceivability (Howard) [1.4.23-24]

– Accidental Synopsis (Art & Language C) [3.2.93-94]

– Actuality and Potentiality (Howard) [1.4.16-22]

– A-L and me...what I know, care about...Going-on as Grammar. No money, no prospects... Fear... Starvation... (Art & Language A) [2.4.1-6]

– Annotations...Selective Memory (Histrionics?)...
(Art & Language B) [3.1.15-17]

– Apodictic Tableaux (Art & Language B) [3.1.10-12]

– Art and Language (Art & Language A) [2.4.45-50]

– Art and Language (Art & Language C) [3.2.41]

– Art Enquiry (2) (Ramsden) [1.3.4-6]

– Art for Society? (Art & Language I) [4.4.1-25]

– Art Language and Art-Language (Burn and Ramsden) [2.2.21-28]

– Art Teaching (Atkinson and Baldwin) [1.4.25-50]

– Art-Career Components (Art & Language B) [3.1.87-89]

– Aspects of Authorities (Pilkington, Rushton, Lole) [2.1.38-50]

– Author and Producer Revisited (Art & Language I) [5.1.22-31]

 

– Bad Men Have Some Songs (Art & Language F) [4.1.38-41]

– Bibliotherapy (Pilkington and Rushton) [2.3.18-33]

– Blue Poles (Art & Language I) [5.3.passim]

– Bourgeois Revisionism, What? (Art & Language D) [3.3.12-23]

– Brainstorming – New York (Art & Language C) [3.2.31-40]

– Brainstorm Proposal (Art & Language A) [2.4.16-25]

– The Building Blocks of the University (Art & Language F) [4.1.42-45]

– Bureaucracy...(Art & Language B) [3.1.20]

– Bxal-ing (Art & Language B) [3.1.76-79]

 

– Cacophonous...(Art & Language B) [3.1.18-19]

– Caution (Art & Language B) [3.1.1]

– Commentary (Art & Language F) [4.1.51-55]

– Community Arts (Art & Language D) [3.3.48-52]

– Community Work (Art & Language C) [3.2.44-45]

– ...Concatenation...(Art & Language B) [3.1.74-75]

– Conceptual Art: Category and Action (Thompson ) [1.2.77-83]

– Concerning Interpretation of the Bainbridge/Hurrell Models (Atkinson) [1.2.61-71]

– Concerning Some Theories and their Worlds (Howard) [1.3.7-8]

– ‘Consistency’ is an Ideological Postulate (Art & Language B) [3.1.44-47]

– Conversation: Opacity? (Art & Language D) [3.3.24-26]

– ...Corpse of Official Language (Art & Language B) [3.1.69-70]

 

– Data Blank, December 1973 (Art & Language A) [2.4.15]

– Dead Horse...(Art & Language B) [3.1.48-49]

– Dear... (Art & Language A) [2.4.15]

– Denizens of class struggle (Art & Language D) [3.3.34-38]

– Diagrammata or...In making Friends We Make Our Life (Arthur Mee)

(Art & Language D) [3.3.103-104]

– Dialogue (Burn) [1.2.22]

– Disinterest Relationships, etc. (Howard) [2.3.10-11]

– Do we have anything like ‘Assertion’? (Art & Language B) [3.1.37-41]

– Doge City (Art & Language E) [3.4.49-62]

– Don’t Speak of Man's Potentialities and their being made Actual in Society

(Art & Language D) [3.3.105-106]

 

– (Education is not putting sight into blind eyes, so...) Back to the Sandbank

(Art & Language D) [3.3.107-109]

– Endless Revisability...(Art & Language B) [3.1.80-82]

– Equivocating...(Art & Language B) [3.1.64-67]

– Exploitation... Education...(Art & Language B) [3.1.101-103]

 

– The Fine Structure of Collaboration (Corris) [2.3.34-37]

– For Thomas Hobbes – I (Art & Language C) [3.2.1-6]

– Four Wages of  Sense (Burn and Ramsden) [2.1.28-37]

– Fragment from Contemporanea Index (Art & Language A) [2.4.37]

– Frameworks and Phantoms (Corris and Ramsden)  [2.3.38-52]

– The French Disease (Art & Language E) [3.4.23-34]

– From an Art & Language Point of View (Atkinson) [1.2.25-60]

– Fur Teacups (Art & Language B) [3.1.60-61]

– Further Points of Reference (Art & Language A) [2.4.126-130]

 

– General Note. (i)Atkinson and Meaninglessness. (ii)Preface. (iii) Epilogue: Art-Language. Dead Issues (Baldwin) [1.3.30-35]

– Go through the gatehouse... (Art & Language F) [4.1.cover-2]

 

– How to avoid assumptions that your good heart gets you There (Art & Language D) [3.3.39-42]

 

– Ideal Speakers... (Art & Language B) [3.1.13-14]

– Ideology does not penetrate class barriers as a transparent Substance (Art & Language D) [3.3.27-28]

– Implications and Alternatives (Blue Poles) (Art & Language I) [5.3.71-88]

– ‘In Conscience-stricken Wissenschaft...’ (Art & Language F) [4.1.56-67]

– In Contradiction (Art & Language E) [3.4.10-22]

– Information (Atkinson and Baldwin) [2.2.11-20]

– Institutional Serenity (Art & Language B) [3.1.32-35]

– Instruction Index a x (Art & Language A) [2.4.73-99]

– Instruction Index b x (Art & Language A) [2.4.100-123]

– Interdisciplinary Studies: Urology, Arachnodidactics (Art & Language E) [3.4.37-48]

– Interest Relationships, etc. (Howard) [2.3.8-9]

– Interim Remarks (Hurrell) [2.2.29-30]

– International: England 1 (o.g.) USA 1 (o.g.) (Art & Language D)
[3.3.66-72]

– Introduction (Atkinson, Bainbridge, Baldwin, Hurrell) [1.1.1-10]

– Introduction (Blue Poles) (Art & Language I) [5.3.3-22]

– Introductory Note by the American Editor (Kosuth) [1.2.1-4]

– Iteration (Art & Language B) [3.1.50]

 

– Jobless and Gaga (Art & Language D) [3.3.43-47]

– Joseph Kosuth says that the group is a Cultural Ghetto (Art & Language B) [3.1.54-56]

 

– La Pensée avec images (Atkinson and Baldwin) [1.4.51-69]

– Language has a Hold on us (Art & Language B) [3.1.5-7]

– Leftish Critique (Art & Language B) [3.1.106-108]

– A Letter to a Canadian Curator (Art & Language I) [5.1.32-35]

– Letter to Mel Ramsden (Cork) [3.3.Appendix]

– Letter to Richard Cork (Ramsden) [3.3.Appendix]

– Little Grey Rabbit Goes to the Sea (Art & Language C) [3.2.59-62]

– A ‘Logic’ of Going-On? (Art & Language B) [3.1.36]

– The Long March from 23rd Street to Highgate Cemetery and Back
(Art & Language F) [4.1.46-50]

– Lupus in Fabula (Bainbridge) [2.2.32-34]

 

– Market Relations (Art & Language B) [3.1.8-9]

– Marshall McLuhan and the Behavioural Sciences (Bihari) [1.3.11-28]

– Method 1: On the Material Necessity that the Editors of October, its Contributors, Supporters and Relatives, and Particularly, the Arch Fool, the Illiterate Liar Jeremy

G. Rolfe, be Sought Out, Their Hands Smashed, Their Eyes Put Out, Their Offices, Ateliers Destroyed, Burned and Portions of the Bloodstained Ashes Sent to the Towering Wretches of French Structuralism (Art & Language G) [4.2.7-9]

– Method 2: A discussion on the theme that the locutions of the avant-garde artist-intellectual cannot be considered as direct discourse (Art & Language G) [4.2.10-18]

– Method 3: To examine or attempt criticism of the vagrant, sub-analysable half-truth – the social and professional currency of ideological opportunism... (Art & Language G) [4.2.19-41]

– Method 4: The quasi-utilitarian straining of international-style pink contemporary art is a mindless but concerted effort to destroy history; with an illustration given

(Art & Language G) [4.2.42-54]

– Method 5: A Crisis of Liberality for the Decaying Macaroni... (Art & Language G) [4.2.55-61]

– Method 6: Random complaints (Art & Language G) [4.2.62-65]

– Method 7: ‘Artists Meeting for Cultural Change’ and ‘Anti-Imperialist Cultural Union’: a history of two cultural organisations, as illustration (Art & Language G) [4.2.66-81]

– Method 8: An abbreviated account by some students at Trent Polytechnic of the occupation of the Administration Block of the School of Art and Design in March 1977,

as illustration (Issue Group) [4.2.82-87]

– Modeish about Cultural Indeterminacy (Art & Language B) [3.1.98-100]

– Models and Indexes: Fringe Benefits (Pilkington and Rushton) [2.3.12-17]

– Modernism (Blue Poles) (Art & Language I) [5.3.23-41]

– Mona Lisas (Howard) [1.3.9-10]

– More Exhortations? (Art & Language B) [3.1.51-53]

– More Unsightly Speculations (Art & Language D) [3.3.99-102]

– Moto-Spiritale (Brown and Hirons) [1.2.23-24]

– ‘Mr. Lin Yutang Refers to “Fair Play”...?’ (Art & Language C) [3.2.68-80]

– My Amazed Admiration (...of the Subtle Complexity Reached by Western Capitalism) (Art & Language C) [3.2.87-88]

 

– No Refuge in ‘Audience’... (Art & Language B) [3.1.23-26]

– Note on Reading 1969-1972 (Hemmings) [2.3.73-77]

– A note on the cover (Art & Language G) [4.2.3-5]

– A Note to the Reader (Art & Language H) [4.3.1-2]

– Notes on Atkinson’s ‘Concerning Interpretation of the Bainbridge/Hurrell

Models’ (Hurrell) [1.2.72-73]

– Notes on Genealogies (Ramsden) [1.2.84-88]

– Notes on M1 (1) (Bainbridge) [1.1.19-22]

– Notes on M1 (2) (Bainbridge) [1.1.30-32]

– Notes on M1 (Baldwin) [1.1.23-30]

– Notes on Marat (McKenna) [1.2.11-13]

– Now, naughty revisionism or no (Art & Language D) [3.3.29-33]

 

– The Old Gourmet (Transcript) (Art & Language A) [2.4.62-70]

– On the Embarrassing Dangers of Banishing 12-Tone Music
(Art & Language C) [3.2.95]

– On the Material-Character/Physical-Object Paradigm of Art

(Atkinson and Baldwin) [2.1.51-55]

– Ontological Relativity: a Note (Howard) [2.1.56-57]

– ...Overboard about Kierkegaard (Art & Language B) [3.1.57-59]

– Overview – The Paradox of the Heap of Stones
(Art & Language C) [3.2.63-64]

 

– Painting by Mouth (Art & Language I) [5.1.45-55]

– Pastels in Prose – if not a Vignette in Verse...
(Art & Language D) [3.3.73-75]

– Pedagogical Sketchbook (AL) (Art & Language C) [3.2.20-30]

– Plans and Procedures (Baldwin) [1.2.14-21]

– Poem-schema (Graham) [1.1.14-15]

– Points of Order? (Art & Language B) [3.1.21-22]

– Points of Reference, the Hope of Ideology
(Art & Language A) [2.4.40-44]

– Portrait of V. I. Lenin (Art & Language I) [4.4.26-61]

– ‘Praxisectomy’ and ‘Theoryorraphy’ (Bainbridge) [2.3.78]

– Preamble (Art & Language G) [4.2.6]

– A Preliminary Proposal for the Directing of Perception (Ramsden) [1.3.29]

– Problems of Art & Language Space (Burn and Ramsden) [2.3.53-72]

– The problems of displaying base explicit directive ‘assumptions’

(Art & Language D) [3.3.76-84]

– Proceedings M2 (Art & Language A) [2.4.71-72]

– Proceedings: Society for Theoretical Art and Analyses (Burn, Cutforth and Ramsden) [1.3.1-3]

– Provisions and Rules Again (Art & Language D) [3.3.93-98]

 

– Rambling: To Partial Correspondents (Art & Language C) [3.2.46-51]

– Redemption not Adaptation (Art & Language A) [2.4.7-14]

– The Rediscovery of Hazlitt: To Our Knowledgeable Friends, Surrounded by False Homage, Estranged From Real Work (Art & Language E) [3.4.6-9]

– Representation and Class: A Conjecture (Blue Poles) (Art & Language I) [5.3.42-70]

– Return Journey (Art & Language F) [4.1.5-10]

– Revelation and Art (Howard) [1.4.6-15]

– A Review of Styles (Art & Language C) [3.2.7-12]

– Routine... (Art & Language B) [3.1.68]

 

– ‘The Sculpture...’ (Bainbridge) [1.2.5-7]

– Sculptures and Devices (Hurrell) [1.2.74-76]

– Semiotique, Hardcore (Art & Language E) [3.4.35-36]

– Sentences on conceptual art (LeWitt) [1.1.11-13]

– Shoot the Sodding Ref. (Art & Language D) [3.3.85-92]

– Shop-Floorish? (Art & Language B) [3.1.104-105]

– Simplicissimus (Art & Language F) [4.1.11-37]

– Slogan Adaptation (Art & Language C) [3.2.65-67]

– Some Formalities of Technic Relationships (Howard) [2.3.1-7]

– Some Questions on the Characterization of Questions (Burn and Ramsden) [2.2.1-10]

– ‘Sometimes I feel like an Artist...’ (Art & Language B) [3.1.27-31]

– Somewhere to Begin (Art & Language B) [3.1.2-4]

– A Souvenir of 1979 (Art & Language I) [5.1.56-68]

– Sporadic Encounter (Art & Language B) [3.1.109-110]

– ‘The statement that there is a body of dialectical discourse...’
(Art & Language A) [2.4.124]

– Statements (Weiner) [1.1.17-18]

– Straight Talk? (Art & Language B) [3.1.62-63]

– Strategy is Political: Dear M... (Art & Language C) [3.2.81-86]

– Striving in the Uproar (Art & Language B) [3.1.83-86]

 

– A tale in the sump oil: notes from under the car; you can’t help them breaking down (Art & Language D) [3.3.122-125]

– Theory, Knowledge and Hermeneutics (Knight) [1.4.1-5]

– Three from May 23rd, 1969 (Barthelme) [1.2.8-10]

– Three Poems after Friedrich Nietzsche (Art & Language I) [5.1.36-44]

– ‘...The Timeless Lumpenness of a Radical Cultural Life...’ (Art &Language D) [3.3.cover-1]

– ‘To Begin With, While I am Clearly a Marxist Sympathizer...’
(Art & Language C) [3.2.13-19]

– Transcript 3.1.76 Plus and Minus (Art & Language D) [3.3.5-11]

 

– Unnatural Rules and Excuses (Atkinson and Baldwin) [2.1.1-27]

– The Unreality of this Culture (Art & Language B) [3.1.90-97]

– Uplifting Public Utterance (Art & Language A) [2.4.35]

– Us, Us and Away (Art & Language E) [3.4.1-5]

– Utopian Prayers and Infantile Marxism (Art & Language C) [3.2.89-92]

 

– Vector and Magnitude (Art & Language A) [2.4.34]

– Victorine – libretto for an opera (Art & Language J) [5.2.passim]

– Violins and Cows (Art & Language A) [2.4.1-6]

– Vulgar and Popular Opinions (Art & Language C) [3.2.52-58]

 

– Ways of Seeing (Art & Language H) [4.3.passim]

– We wish they had a Dictionary (Art & Language B) [3.1.71-73]

– What are we doing in Language? (Art & Language B) [3.1.42-43]

– What’s an ideological boundary then? (Art & Language D) [3.3.110-114]

– ‘Whether there exists, or has existed an ‘ideological’ person...’ (Art & Language A) [2.4.36]

– Who said, ‘It is, on the contrary, the bureaucracy which brings the new mode of production into existence’? (Art & Language D) [3.3.115-119]

– Who’s a little Max Stirner then? (Art & Language D) [3.3.120-121]

– Why J.Kosuth Won’t Work for Us & Other Trivia (Art & Language A) [2.4.51-61]