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""A key document of the late 1960s avant-garde."" -James Meyer, Emory University ""[This book is] a reminder that the project of Conceptual art and its 'artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."" - Howard Singerman, author of Art Subjects ""Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Stephen Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times - so much has changed, so fast!... This is a precious document that casts a fresh light on the early history of Conceptual art."" -Yve-Alain Bois, Harvard University ""The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test - and occasionally to declaim, as the interviews demonstrate - ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener."" -John O'Brian, University of British Columbia""

"""A key document of the late 1960s avant-garde."" -James Meyer, Emory University ""[This book is] a reminder that the project of Conceptual art and its 'artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."" - Howard Singerman, author of Art Subjects ""Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Stephen Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times - so much has changed, so fast!... This is a precious document that casts a fresh light on the early history of Conceptual art."" -Yve-Alain Bois, Harvard University ""The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test - and occasionally to declaim, as the interviews demonstrate - ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener."" -John O'Brian, University of British Columbia"""

A key document of the late 1960s avant-garde. -James Meyer, Emory University [This book is] a reminder that the project of Conceptual art and its 'artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique. - Howard Singerman, author of Art Subjects Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Stephen Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times - so much has changed, so fast!... This is a precious document that casts a fresh light on the early history of Conceptual art. -Yve-Alain Bois, Harvard University The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test - and occasionally to declaim, as the interviews demonstrate - ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. -John O'Brian, University of British Columbia

Author Information

Alexander Alberro is Assistant Professor of Modern Art at the University of Florida. He is coeditor of Conceptual Art: A Critical Anthology (1999) and editor of Two-Way Mirror Power: Selected Writings by Dan Graham on His Art (1999). Patricia Norvell is an artist living in New York City. Her work has appeared widely in public spaces and galleries across the United States. She has taught at Columbia University, Hunter College, and other institutions.

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