If much of conceptual art in the 60's and 70's was attempting to get as far away from the object -the object as end result- as possible then Lippard and Chandler were dead right in saying that the (new) reception of art was not merely about immaculate perception and ensuing experience but about seeing and actually thinking about what you see.
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This perception of the crosscurrents within the exhibition's conceptual streams is compellingly monumentalized by a gigantic, floating, colorless, undulating amoeba by Elena Beelaerts (Self-Portrait as an Amoeba, 2004), which unflinchingly and amusingly inverts the conventions of scientific experimentation by injecting live mice into an artificially generated single-cell structure.
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