• Title/Summary/Keyword: Joseph Kosuth

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Discourse Practices of the Studio International: Focusing on the Emergence of the 'Artist as Theorist' (시각예술잡지 『스튜디오 인터내셔널』의 담론생산: '이론가로서의 예술가'의 등장을 중심으로)

  • Shan Lim
    • The Journal of the Convergence on Culture Technology
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    • v.10 no.5
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    • pp.83-88
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    • 2024
  • This paper analyzes the historical significance and aesthetic meaning of the emergence of 'artists as theoreticians,' a major aspect of contemporary art criticism practice, focusing on the editorial project of the British monthly visual arts magazine Studio International. The sharing of writings about art through publications confirms the lens of critical perspectives on contemporary art and serves as an opportunity to reflect on broader political and cultural conditions. In particular, this paper can function as a resource for assessing the art historical horizons created by the connection between artists and publications, rather than theorists or critics, on the magazine platform. This paper focuses on the debates formed through Studio International in the late 1960s, examining the magazine's stance on new developments in art, the practice of defining critical terms that accompanied it, and the responses to them. The texts of 'artists as theoreticians' such as Victor Burgin and Joseph Kosuth, published in Studio International, overcame the conventionality of art that relies on formal aspects, and argued that the concept of art as something named by the artist is possible as art that does not require the mediation of objects. The discourse practices of these artists became an important factor in destroying the authority of the historicist critical paradigm, thereby acquiring the art historical value of artists who took the position of theoreticians dealing with art.