{"product_id":"postscript-writing-after-conceptual-art-hardback-9781442649842","title":"Postscript; Writing After Conceptual Art (Hardback) 9781442649842","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003ePostscript\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eWriting After Conceptual Art\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eAndrea Andersson (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781442649842\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 2 May 2018\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e432 pages, 27 b\u0026amp;w illustrations\u003cbr\u003e26.2 x 18.8 x 4.1 cm, 1.12 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\"Andersson\u0026amp;#x2019;s collection is significant in so far as it is one of the first exhibitions or catalogues that begins to approach a definition of conceptual writing.\" \u003c\/p\u003e - Louisa Lee (\u003cem\u003eArt History\u003c\/em\u003e)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eOne of the most important movements in twenty-first century literature is the emergence of conceptual writing. By knowingly drawing on the histories of art and literature, conceptual writing upended traditional categorical conventions.\u003c\/p\u003e\n\u003ci\u003e \u003c\/i\u003e\u003cp\u003ePostscript is the first collection of writings on the subject of conceptual writing by a diverse field of scholars in the realms of art, literature, media, as well as the artists themselves. Using new and old technology, and textual and visual modes including appropriation, transcription, translation, redaction, and repetition, the contributors actively challenge the existing scholarship on conceptual art. Rather than segregating the work of visual artists from that of writers we are shown the ways in which conceptual art is, and remains, a mutually supportive interaction between the arts.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cp\u003eAcknowledgements\u003c\/p\u003e \u003cp\u003ePreface\u003cbr\u003eNora Burnett Abrams\u003c\/p\u003e \u003col\u003e \u003cli\u003e\"I, too, wondered…\": An Introduction to Writing After Conceptual Art\"\u003cbr\u003e    Andrea Andersson\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"The Conceptualist Turn: Wittgenstein and the New Writing\"\u003cbr\u003e    Marjorie Perloff\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Fate of Echo\"\u003cbr\u003e    Craig Dworkin\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Was Ist Los\"\u003cbr\u003e    Seth Price\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Echo\"\u003cbr\u003e    Vanessa Place\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Sharon Hayes and Most People\"\u003cbr\u003e    Rachel Haidu\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"What Do We Mean By Performance Writing?\"\u003cbr\u003e    Caroline Bergvall\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Rescuing the Past: Repetition and Reenactment in Jeremy Deller, Andrea Geyer, and Sharon Hayes\"\u003cbr\u003e    Patrick Greaney\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003eFrom \"Notes on Conceptualism\"\u003cbr\u003e    Robert Fitterman and Vanessa Place\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"The Melancholy of Conceptualism\"\u003cbr\u003e    Michael Golston\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Untimely Models\"\u003cbr\u003e    Lytle Shaw\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Indifferent Voices\"\u003cbr\u003e    Paul Elliman\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"A Week of Blogs for the Poetry Foundation\"\u003cbr\u003e    Kenneth Goldsmith\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Give Them What They Want: Populist Rhetoric in Conceptual Art and Writing\"\u003cbr\u003e    Brian Reed\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003eTo Teach and Delight – A Few Precedents for an Art of Instruction\"\u003cbr\u003e    Cathleen Chaffee\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Semantic Analysis: The Art of Parsing Found Text\"\u003cbr\u003e    Sarah Cook\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Conceptual Computing and Digital Writing\"\u003cbr\u003e    Nick Monfort\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Poetry Without Poets\"\u003cbr\u003e    Darren Wershler\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003eDocuments from \"True Mirror\"\u003cbr\u003e    David Reinfurt and Stuart Bailey\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"From Distribution to Dispersion: Conceptual Writing in the Age of the Internet\u003cbr\u003eGwen Allen\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Little Bastard\"\u003cbr\u003e    Ryan Gander with Alice Fisher and Stuart Bailey\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"What Was Conceptual Writing?\"\u003cbr\u003e    Nick Thurston\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"The Bioinformatic Sublime: The Life of Data and the Data of Life in Conceptual Writing\"\u003cbr\u003e    Paul Stephens\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Two Dots Over a Vowel\"\u003cbr\u003e    Christian Bök\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Like In Valencia: On Translating Equivalence\"\u003cbr\u003e    Mónica de la Torre\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Russian Lessons for Conceptual Writing\"\u003cbr\u003e    Jacob Edmond\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Reading as Art\"\u003cbr\u003e    Simon Morris with Thomas Campbell\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"Ambivalence of the Grid\"\u003cbr\u003e    Liz Kotz\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"The Concrete, The Conceptual, and the Galáxias\"\u003cbr\u003e    Antonio Sergio Bessa\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"N.B.\"\u003cbr\u003e    Seth Kim-Cohen\u003cbr\u003e\n\u003c\/li\u003e \u003cli\u003e\"PLAGIARISM: A response to Thomas Fink\"\u003cbr\u003e    Tan Lin\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003eNotes\u003c\/p\u003e \u003cp\u003eBibliography\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Toronto Press","offers":[{"title":"Brand New","offer_id":52702517887256,"sku":"9781442649842","price":43.99,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/postscript-writing-after-conceptual-art-hardback-9781442649842","provider":"Freshly Printed Books","version":"1.0","type":"link"}