Art & Language

Art & Language is a conceptual artists' collaboration that has undergone many changes since it was created in the late 1960s. The group was founded by artists who shared a common desire to combine intellectual ideas and concerns with the creation of art. The first issue of the group's journal, Art-Language, was published in November 1969 in Chipping Norton in England, and was an important influence on conceptual art in the United States and the United Kingdom.[1]

This article is about the art group. For the journal, see Art-Language.

Scratched photograph of the cover of Art-Language, Vol.3 No.1, 1974.

First years

The Art & Language group was founded around 1967 in the United Kingdom by Terry Atkinson (b. 1939), David Bainbridge (b. 1941), Michael Baldwin (b. 1945) and Harold Hurrell (b. 1940).[2] These four artists began their collaboration around 1966 while they were art teachers in Coventry. The name of the group was derived from their journal, Art-Language The Journal of conceptual art, originally created as a work conversation in 1966. The group was critical of what was considered mainstream modern art practices at the time. In their work conversations, they created conceptual art as part of their discussions.[3]

Between 1968 and 1982, the group grew to nearly fifty people. Among the first to join were critic and art historian, Charles Harrison, and artist Mel Ramsden.[4] In the early 1970s, individuals including Ian Burn, Michael Corris, Preston Heller, Graham Howard, Joseph Kosuth, Andrew Menard, and Terry Smith joined the group. Two collaborators from Coventry, Philip Pilkington and David Rushton, followed. The relative degree of anonymity held within the group continues to have historical significance in the art community. Due to an uncertainty of the exact member lists, it is hard to know unequivocally not only who all of the contributors were but also what their exact contributions were.

The first issue of Art-Language The Journal of conceptual art[5](Volume 1, Number 1, May 1969) is subtitled The Journal of Conceptual Art. By the second issue (Volume 1, Number 2, February 1970), it became clear that there were conceptual art pieces and conceptual artists for whom and to whom the journal did not speak. In order to better encompass the purpose of the journal, the title was abandoned. Art-Language had, however, brought to light the beginning of a new art movement. It was the first imprint to identify a public entity called Conceptual art. The journal was the first of its kind to serve the theoretical and conversational interests of a community of artists and critics, who were also its producers and users. While that community was far from a unanimous agreement as to how to define the nature of conceptual art, the editors and most of its historic contributors shared similar opinions about other art movements. Conceptual art was critical of modernism for its bureaucracy and its historicism, and of minimalism for its philosophical conservatism. The practice of conceptual art, especially in its early years of origin, was primarily based on theory, and its form, predominately textual.

As the distribution of the journal and the teaching practices of the editors and others contributors expanded, the conversation grew to include more people. In England, by 1971, artists and critics including Charles Harrison, Philip Pilkington, David Rushton, Lynn Lemaster, Sandra Harrison, Graham Howard and Paul Wood had joined. Around the same time in New York, Michael Corris joined, followed by Paula Ramsden, Mayo Thompson, Christine Kozlov, Preston Heller, Andrew Menard and Kathryn Bigelow.

The name "Art & Language" remained precarious due to the various interpretations of both the many pieces of art and the purpose of the group. Its significance, or instrumentality, varied from person to person, alliance to alliance, discourse to discourse, and from those in New York who produced The Fox (1974–1976), for example, to those engaged in music projects and those who continued the Journal's edition. There was disagreement among members, and by 1976, there was a growing sense of divide that eventually led to competing individualities and varied concerns.

Throughout the 1970s, Art & Language dealt with questions about art production and attempted a shift from conventional "nonlinguistic" forms of art, such as painting and sculpture, to more theoretically text-based works. The group often took argumentative positions against such prevailing views of critics like Clement Greenberg and Michael Fried.[6] The Art & Language group that exhibited in the international Documenta 5 exhibitions of 1972 included Atkinson, Bainbridge, Baldwin, Hurrell, Pilkington, Rushton, and Joseph Kosuth, the American editor of Art-Language.[7] The work consisted of a filing system of material published and circulated by Art & Language members.[8]

New York Art and Language

Burn and Ramsden co-founded The Society for Theoretical Art and Analysis in New York in the late 1960s. They joined Art & Language in 1970–71.[9] New York Art & Language became fragmented after 1975 because of disagreements concerning principles of collaboration.[10] Karl Beveridge and Carol Condé, who had been peripheral members of the group in New York, returned to Canada where they worked with trade unions and community groups. In 1977, Ian Burn returned to Australia and Mel Ramsden to the United Kingdom.

Art & Language, Untitled Painting 1965. The Tate Modern Collection.

Late 1970s

By the end of the 1970s, the group was essentially reduced to Baldwin, Harrison, and Ramsden with the occasional participation of Mayo Thompson and his group Red Crayola.[11][12] The political analysis and development within the group resulted in several members leaving the group to work in more activist-oriented political occupations.[13] Ian Burn returned to Australia, joining Ian Milliss, a conceptual artist who had begun work with trade unions in the early 1970s, in becoming active in Union Media Services, a design studio for social and community initiatives and the development of trade unions.[14][15] Other members from the United Kingdom drifted off into a variety of creative, academic and sometimes "politicized" activities.

At the beginning of the 1970s, there were about thirty members. The Art & Language group emphasized the use of language on the theory that language is the basis from which ideas and concepts are built. Their philosophy was that language permits index words which appear, disappear, and for some even persist, thus allowing viewers and artists alike to analyze the evolution of a word through the proposal of different definitions.

Selected works

List of works [16][17]

Year	Title
1965	Mirror Piece Time Drawings Three Suprematist Squares Crane Notes Text as Performance Fragments and Elements
1966	Acid Boxes Air Show Frameworks Frameworks Exhibit I Art Out of Sound Crane An Argument from Illusion Aim at Boredom, Kasimir? Loop The Air-Conditioning Show Note Topography for Text Book or Encyclopedia from 1965 to 1966 Notes on Malevich Paintings Nr. 1 Oxfordshire Show Performance as Text. Appendix. Note 6 Robotic Sculpture The Temperature Show Two Black Squares Two Black Rectangles
1967	22 Sentences: The French Army A Note on the Notion of a 368 Years Old Spectator Abstract Art Paintings Acrostic Paintings Bibliography Installation 11 Studies for a Secret Painting 4 Studies for a Secret Painting Frameworks Exhibit II Hot-Cold Identificatory Fragment Map of Itself Map to not Indicate... Map of a Thirty-Six Square Miles Surface Area of the Pacific Ocean West of Oahu Mirror Piece On the Concept of a Non Exhibition Ontology Undeclared Glasses Potato Print Model I & II Readings of Readings of the Tractatus Some Notes about Art and Time 23 Title Equals Text Paintings Temperature Prints Time and News Time Show Fragment Two Black Squares (The Paradoxes of the Absolute Zero) Study for a Secret Painting Notes: Harold Hurrell 100% Abstract Geology Notes on Entropy The Identity Bracelet
1968	22 Sentences the French Army 100% Abstract Abstract of Perception I & II Abstract Relations Analogy Model 1-8 Art as Theory Art Objects and Real Things Conceptual Art and Inten(s)ion M1 Fluidic Device Elements of an Incomplete Map Intensionality, Quantification. Fragment Laocoon is a Name Models + Dictionaries Notes on Substance Concepts (Art Object) Notes Toward the Art of Terry Atkinson Objects-Ontology On "Conceptual Art" Criticism Six Negatives Categories Systematically Altered Photographs The Object-Language. The Art-Language. The Ascribing of Responsibility Thirty-Nine Negatives Categories Notes Towards "From an Art-Language Point of View" Six Negatives The Art of David Bainbridge The Art of Terry Atkinson
1969	A Point of Reference is a Product of Discourse Concerning Interpretation of Bainbridge/Hurrell Models Concerning the Form of Some of the Works and Some of the Form of Some Other Works Frameworks Appendix Information Position 001 Ingot Intensionality and Ascription of Responsibility Introduction to Discourse Is Art What Art Says? Lecher System Ontological Fragments Paradigms. Draft 2 Textbook – Project Semantics The Art of David Bainbridge: Introduction to Discourse The Literate and the Non-Literate Anthropology Describing Things Notes-Reference to Machine Itself The Theory of Art Fragments of Some notes Towards a Correct Textbook
1970	Art and Antinomicness "Art" and Language Existential References. Art Object Fondations of Arithmetic-Frege Handbook on Models. The Relativity of Emotion Handbook to "Ingot" Identity Intension II:: Draft for a Book Section Lecher System "Moral Law" Propadeutic 1.00 Noisy Channel: A Notes on Analyses Numbers Ontological Fragment The Grammarian This is Semantics Notes on M1 Theories of Ethics
1971	Artforum Annotations (Comparative Models) Authorship Comparative Models Exhibition of lectures Latin Index Notes on 'De Legibus Naturae Notes on "Pragmatics I" Olivet Discourse Suggestion for a Map Village Explanation: On Norbert Weiner on the Role of the Intellectual and the Scientist Frameworks Retrospect Notes on Mapping and Indexing The Moral Law Theories of Ethics and Meaninglessness Topological Notebook Transformational Matrices
1972	A Dithering Device Art as an Activity which the Artist Enjoys Comparative Models Documenta Memorandum (Indexing) Index 01 Index 02 Index of a Discussion Index or What? Information and Markov Chains Mapping and Filling Materialism – from "The Fourth International" Schema for Art Models Translation Piece I-V Village Explanation, no.2-no.5 The Turin Index Notes for a Lecture
1973	A Fragment of a Model for Rigour: "Ontology" All Friends Together Art and Its Cultural Context Art Theory and Scientific Theory Blurting in Art & Language Hybridity Resonance Index 02 (Bxal) Indexical Fragments K Index Li Proceedings Index Logical Construction Notes on 77 Sentences Notes on Hand Book Project Studies for an Art & Language Index Transcription Village Explanation, no.5-no.8 77 Sentences Index Printout Charles Harrison Talking to Michael Baldwin. An Incomplete Index
1974	77 Sentences A Point of Reference is a Product of Discourse (Surf) Ask Yourself Which is the Index Corrected Slogans Music-Language Map of War/Blurt A & L Dialectical Materialism Emma Exemplary Guide to the Aviation Industry 001.1 Fine Art Has No History Going-on Douglas Haig Going-on, Going-on Heuristic Sketches for Hell vs Bedlam Historically Proper Names I can't Think: Fear, Death, etc. Index Printout Index 02 (Bxal): Indexical Fragments Internal Description as External Description K Formulae P of H S Printing or Writing Projekt 74 Index Reference Points Remember the Somme – Douglas Haig Self-Superseding Strategy... Or the Given Political Moment Surf as a Function The Machine Appropriated The Masses are the Decisive Force in All Social Change The Paradox of Drawing as an Ideological Resource 1 & 2 The Phenomenology of Asking a Question About a Given Item The "Red Lattice" Problems Threshold Agreement Transformational Matrix Transmitted Recipe Knowledge
1975	Blindness Dialectic and Unsightly Drinking: Art Galleries and the Putative Sites of Non-Trivial Conflict Indexing Project Internal Evidence Suggests a Kempis / Lowenheim-Skolem Paradox Alone Art & Language Attacks on Socialist Artists Corrected Slogans: Paper Music Good Evening... It is Modern amusements-Time Again Posters for The Fox Print (Section A, Questionnaire) Shouting Men Singing Men The Notion of Conditioning Persuasion and the Notion of Consciousness Village Explanation no.9-no.10
1976	Above Us The Waves (A Fascist Index) Illustrations for Art-Language Vol.3 Nr.4 Corrected Slogans Dialectical Materialism Notes Posters for the Fox School Poster
1977	Ten Postcards Ten Posters: Illustrations for Art-Language Our Progress Lies in Hard Work Born in Flames
1978	Born in Flames Flags for Organisations Ils donnent leur sang, donnez votre travail Le Monde bestorne
1979	Art & Language in Disguise Study for "Portraits of V.I. Lenin in the Style of Jackson Pollock" Portraits of V.I. Lenin in the Style of Jackson Pollock
1980	Born in Flames Portraits of V.I. Leni in the Style of Jackson Pollock Study for "Picasso's Guernica in the Style of Jackson Pollock" Picasso's Guernica in the Style of Jackson Pollock
1981	Study for "Gustave Courbet's "Burial at Ornans" Expressing..." Gustave Courbet's "Burial at Ornans" Expressing... Victorine Raped and Strangled by the Man who forced her into Prostitution: A Dead Woman Drawn and Painted by Mouth Attacked by an Unknown Man in a City Park: A Dying Woman; Drawn and Painted by Mouth A Man Battering his Daughter to Death as she Sleeps: Drawn and Painted by Mouth Study for "Index: The Studio at 3 Wesley Place Painted by Mouth Kangaroo?
1982	Study for "Index: The Studio at 3 Wesley Place Painted by Mouth" Study for "Index: The Studio at 3 Wesley place illuminated by an Explosion Nearby Study for "Index: The Studio at 3 Wesley Place Showing the Position of Embarrassements Index:_The Studio at 3 Wesley Place Painted by Mouth version I et II Index:_The Studio at 3 Wesley Place in the Dark
1983	Art & Language Paints a Picture Index: The Studio at 3 Wesley Place Illuminated by an Explosion Nearby I-VII Impressionism Returning Sometime in the Future
1984	Impressionism Returning Sometime in the Future
1985	Index: Incident in a Museum I à V
1986	Index: Incident in a Museum VI à XVI
1987	Index: Incident in a Museum XVII à XXV
1988	An Incident in a Museum: Study for Hostage Unit Cure Unit Ground I à X Hostage I à IX Hostage: An Incident and a People Flag I à VII
1989	Hostage XIX à XXIX Hostage α, β, γ, δ
1990	Hostage XXX à LXXX
1991	Hostage LXXXI à LXXXIV Exit: Now They Are
1992	Index V à XX (Now They Are)
1993	Incident, Now They Are, Look Out Incident, Now They Are, Elegant Incident, Now They Are, Next
1994	Incident, Foreground I Index 11: Background, Incident, Foreground no.I à XXXVIII
1995
1996	Sighs Trapped by Liars
1997	Sighs Trapped by Liars
1998	Sighs Trapped by Liars A Model for Lucy Grays (Study for Barcelona Wall)
1999	A Picture Painted by Actors Wrongs Healed in Official Hope Material Slang About Reading and Looking
2000	Study for Mother, Father, Monday: Map of the World Mother, Father, Monday: Map of the World

Exhibitions and awards

Awards and critics

In 1986, Art & Language was nominated for the Turner Prize. In 1999, Art & Language exhibited at PS1 MoMA in New York, with a major installation entitled The Artist Out of Work.[18] This was a recollection of Art & Language's dialogical and other practices, curated by Michael Corris and Neil Powell. This exhibition closely followed the revisionist exhibition of Global Conceptualism: Points of Origin at the Queens Museum of Art, also in New York. The Art & Language show at PS1 offered an alternative account of the antecedents and legacy of '"classic" conceptual art and reinforced a transatlantic rather than nationalistic version of events from 1968 to 1972. In a negative appraisal of the exhibition, art critic Jerry Saltz wrote, "A quarter century ago, 'Art & Language' forged an important link in the genealogy of conceptual art, but next efforts have been so self-sufficient and obscure that their work is now virtually irrelevant."[19]

Permanent collections

Other exhibits around the world include the works of Atkinson and Baldwin (working as Art & Language) held in the collection of the Tate in the United Kingdom.[20] Papers and works relating to "New York Art & Language" are held at the Getty Research Institute, Los Angeles.

In March 2011, Philippe Méaille loaned 800 artworks of the Art & Language collective to the Barcelona Museum of Contemporary Art.[21] In June 2015, the Conseil départemental de Maine-et-Loire and Philippe Méaille signed a long term lease agreement for the Château de Montsoreau to promote contemporary art in the Loire Valley.

• Art Gallery of New South Wales, Sydney, Australia.
• Arts Council of Great Britain, United Kingdom.
• Centre Georges Pompidou, Paris.
• Centro de Arte Contemporàneo de Malaga, Malaga, Spain.
• Château de Montsoreau-Museum of Contemporary Art, Montsoreau, France.
• EMMA – Espoo Museum of Modern Art, Espoo, Finland.
• Fonds national d'art contemporain, Paris.
• FRAC Haute Normandie, Sotteville-lès-Rouen, France.
• FRAC Languedoc Roussillon, Montpellier, France.
• FRAC Nord Pas de Calais, Dunkerque, France.
• Grand-Hornu, Museum of Contemporary Arts, Belgium.
• Laguna Gallery of Contemporary Art, Laguna Beach, CA, USA.
• Les Abattoirs, Museum of Modern and Contemporary Art, Toulouse, France.
• Lille Métropole Museum of Modern, Contemporary and Outsider Art, Villeneuve d'Ascq, France.
• Barcelona Museum of Contemporary Art, Barcelona Spain.
• MAMCO, Museum of Modern and Contemporary Art, Geneva, Switzerland.
• Migros Museum of Contemporary Art, Zurich, Switzerland.
• Musée d'art moderne, Saint-Priest-en-Jarez, France.
• Museum fur Angewande Kunst, Vienna, Austria.
• Museum Moderner Kunst Stiftung, Vienna, Austria.
• Museum of Contemporary Art, Los Angeles, CA, USA.
• Museum of Contemporary Art, North Miami, FL, USA.
• Museum of Modern Art, New York.
• National Gallery of Australia, Canberra, Australia.
• National Gallery of Victoria, Melbourne, Australia.
• Stedelijk Museum voor Actuele Kunst, Ghent, Belgium.
• Tate Modern, London.
• Victoria and Albert Museum, London.

Selected exhibitions

Selected exhibitions[22][23][24]
Year	Exhibition
1967	Hardware Show – Architectural Association, London.
1968	Dematerialisation Show – Ikon Gallery, London. VAT 68 – The Herbert Art Gallery, Coventry.
1969	Art & Language – Pinacotheca Gallery, Melbourne.
1971	The Air-Conditioning Show – Visual Arts Gallery, New York. Art & Language – Galerie Daniel Templon, Paris. Art & Language – Galleria Sperone, Torino. Tape Show: Exhibition of Lectures – Dain Gallery, New York. Questionnaire – Galleria Daniel Templon, Milano.
1972	The Art & Language Institute – Galerie Daniel Templon, Paris. Documenta Memorandum – Galerie Paul Maenz, Cologne. Analytical Art – Galerie Daniel Templon, Paris
1973	Index 002 Bxal – John Weber Gallery, New York. Art & Language – Galerie Paul Maenz, Cologne. Art & Language – Lisson Gallery, London. Annotations – Galerie Daniel Templon, Paris.
1974	Art & Language – Galleria Sperone, TurinGalerie Paul Maenz, Cologne. Art & Language – Bischofberger Gallery, Zürich. Art & Language – Galleria Schema, Florence. Art & Language – Lisson Gallery, London. Art & Language – Galerie MTL, Brussels. Art & Language – Studentski Kulturni Centar, Belgrade.
1975	Art & Language New York <—> Australia – Art Gallery of New South Wales, Sydney, and the National Gallery of Victoria, Melbourne. Art & Language – Foksal Gallery, Warsaw. Dialectical Materialism – Galleria Schema, Florence. Art & Language – Galerie Ghislain Mollet-Viéville, Paris. Art & Language – Galerie MTL, Brussels. ‘Piggy-Cur-Perfect’ – Auckland City Art Gallery, Auckland. Music-Language – John Weber Gallery, New York.
1976	Music-Language – Galerie Eric Fabre, Paris. Art & Language – Museum of Modern Art, Oxford.
1977	10 Posters: Illustrations for Art-Language – Robert Self Gallery, London. Music-Language – Galleria Lia Rumma, Rome et Naples.
1978	Flags for Organisations – Cultureel Informatief Centrum, Ghent. Flags for Organisations – Lisson Gallery, London.
1979	Ils donnent leur sang; donnez votre travail – Galerie Eric Fabre, Paris.
1980	Portraits of V.I. Lenin in the Style of Jackson Pollock, University Gallery, Leeds. Portraits of V.I. Lenin in the Style of Jackson Pollock, Lisson Gallery, London. Portraits of V.I. Lenin in the Style of Jackson Pollock, Van Abbemuseum, Eindhoven.
1981	Portraits of V.I. Lenin in the Style of Jackson Pollock – Centre d'art contemporain, Genève. Gustave Courbet "Burial at Ornans" Expressing – Galerie Eric Fabre, Paris.
1982	Index : Studio at 3 Wesley Place Painted by Mouth – De Veeshal, Middelburg. Art & Language retrospective – Musée d'Art Moderne, Toulon.
1983	Index : Studio at 3 Wesley Place I, II, III, IV – Gewald, Ghent.
1986	Confessions : Incidents in a Museum – Lisson Gallery, London.
1987	Art & Language : The Paintings – Palais des Beaux-Arts, Brussels.
1990	Hostages XXIV-XXXV – Marian Goodman Gallery, New York.
1993	Art & Language – Galerie Nationale du Jeu de Paume, Paris.
1995	Art & Language and Luhmann – Kunstraum, Vienna.
1996	Sighs Trapped by Liars – Galerie de Paris, Paris.
1999	Art & Language in Practice – Fundacio Antoni Tàpies, Barcelona. Cinco ensayos – Galerià Juana de Aizpuru, Madrid. The Artist out of Work : Art & Language 1972–1981 – P.S.1 Contemporary Art Center, New York.
2000	Art & Language & Luhmann No.2 – ZKM, Karlsruhe.
2002	Too Dark to Read : Motifs Rétrospectifs – Musée d'art moderne de Lille Métropole, Villeneuve d'Ascq.
2003	Art & Language – Migros Museum für Gegenwartskunst, Zurich.
2004	Art & Language – CAC Màlaga, Màlaga.
2005	Hard to Say When – Lisson Gallery, London.
2006	Il ne reste qu'à chanter – Galerie de l'Erban, Nantes (Miroirs, 1965, Karaoke, 1975–2005) et Il ne reste qu'à chanter – Château de la Bainerie (travaux 1965–2005), Tiercé.
2008	Brouillages/Blurrings – Galerie Taddeus Ropac, Paris.
2009	Art & Language – Espoo Museum of Modern Art, Helsinki.
2010	Portraits and a Dream – Lisson Gallery, London. Art & Language – Rhona Hoffman Gallery, Chicago.
2011	Badges – Mulier Mulier Gallery, Knokke.
2013	Letters to the Red Krayola – Kadel Wilborn Gallery, Düsseldorf. Art & Language – Museum Dhont-Dhaenens, Deurle. Art & Language – Garage Cosmos, Brussels.
2014	Art & Language Uncompleted : The Philippe Méaille Collection – MACBA, Barcelona. Nobody Spoke – Lisson Gallery, London.
2016	Art & Language – Château de Montsoreau-Museum of Contemporary Art, Montsoreau. Not that it is needed now – Mulier Mulier Gallery, Knokke-Zoute.
2018	Art & Language Reality (Dark) Fragments (Light) – Château de Montsoreau-Museum of Contemporary Art, Montsoreau.

Selected group exhibitions

Selected group exhibitions[25][26][27]
Year	Exhibition
1968	Language II – Dwan Gallery, London.
1969	March – catalogue-exposition, Seth Siegelaub, New York.
1970	Conceptual Art And Conceptual Aspects – New York Cultural Center, New York. Information – Museum of Modern Art, New York. Idea Structures – Camden Art Centre, London.
1971	The British Avant-Garde – New York Cultural Center, New York.
1972	Documenta 5 – Museum Friedericianum, Kassel. The New Art – Hayward Gallery, London.
1973	Einige Frühe Beispiele Konzeptuelle Kunst Analytischen Charakters – Galerie Paul Maenz, Cologne. Contemporanea – Rome.
1974	Projekt'74 – Cologne. Kunst über Kunst – Kölnischer Kunstverein, Cologne.
1976	Drawing Now, Museum of Modern Art – New York. Biennale di Venezia – Venice.
1979	Un Certain Art Anglais – Musée d'art moderne de la ville de Paris, Paris.
1980	Kunst in Europa na 68 – Museum van Hedendaagse Kunst, Ghent.
1982	Documenta 7 – Museum Fridericianum, Kassel.
1987	British Art of the Twentieth Century: The Modern Movement – Royal Academy, London.
1989	The Situationists International, 1957–1972 – Musée National d'art moderne, Centre Pompidou, Paris. L'art conceptuel, une perspective – Musée d'art moderne de la ville de Paris; Fundación Caja de Prensiones, Madrid; Deichtorhallen, Hamburg.
1992	Repetición/Transformación – Museo Nacional de Arte Reina Sofia, Madrid.
1995	Toponimías (8) : ocho ideas del espacio – Fundación La Caixa, Madrid. Reconsidering the Object of Art, 1965–1975 – Museum of Contemporary Art, Los Angeles.
1997	Documenta X – Museum Fridericianum, Kassel.
1999	Global Conceptualism: Points of Origin 1950s–1980s – Queens Museum of Art, New York.
2002	Iconoclash – Center for Art and Media (ZKM), Karlsruhe.
2003	Biennale di Venezia – Venice.
2004	Before the End (The Last Painting Show) – Swiss Institute, New York.
2005	Collective Creativity – Kunsthalle Fridericianum, Kassel.
2006	Le Printemps de Septembre à Toulouse – Broken Lines – Toulouse. Magritte and Contemporary Art: The Treachery of Images – Los Angeles County Museum of Art, Los Angeles.
2007	Sympathy for the Devil: Art and Rock'n Roll since 1967 – Museum of Contemporary Art, Chicago.
2008	Vides. Une rétrospective – Musée National d'art moderne, Centre Pompidou, Paris.
2009	Rock-Paper-Scissors, Pop Music as Subject of Visual Art – Kunsthaus, Graz.
2010	Algunas Obras A Ler – Collection Eric Fabre – Berardo Museum, Lisbon. Seconde main, Musée d'art moderne de la ville de Paris/ARC, Paris.
2011	Erre, Variations Labyrinthiques – Musée National d'art moderne, Centre Pompidou-Metz, Metz.
2012	Materialising 'Six Years': Lucy Lippard and the Emergence of Conceptual Art – Brooklyn museum, New York.
2013	As if it could . Works and Documents from the Herbert Foundation – Herbert Foundation, Ghent.
2014	Propanganda für die Wirklichkeit – Museum Morsbroich, Leverkusen. Critical Machines, American University, Beyrouth.
2017	Art & Language

Theoretical installations

Art & Language and the Jackson Pollock Bar collaborated for the first time in January 1995, during the "Art & Language & Luhmann" symposium, organized by the Contemporary Social Considerations Institute (Institut für Sozial Gegenwartsfragen) of Freiburg. The 3-day symposium saw the intervention of speakers including Catherine David, who prepared the Documenta X, and Peter Weibl, artist and curator. There was also a theoretical installation of an Art & Language text produced in playback by the Jackson Pollock Bar.[28] The installation was interpreted by five German actors playing the roles of Jack Tworkow, Philip Guston, Harold Rosenberg, Robert Motherwell and Ad Reinhardt. Using lip sync, the actors used pre-recorded text for a "New Conceptual" conversation.[29] Ever since this collaboration, each new Art & Language exhibition has been joined by a Jackson Pollock Bar theoretical installation.[30][31]

Past members and associates

• Terry Atkinson
• David Bainbridge
• Kathryn Bigelow[32]
• Ian Burn
• Sarah Charlesworth
• Michael Corris
• Preston Heller
• Graham Howard
• Harold Hurrell
• Joseph Kosuth
• Christine Kozlov
• Nigel Lendon
• Andrew Menard
• Philip Pilkington
• Neil Powell
• David Rushton
• Terry Smith
• Mayo Thompson

References

1. "Art & Language | Artists | Lisson Gallery". www.lissongallery.com. Retrieved 23 March 2017.
2. Neil Mulholland, The Cultural Devolution: art in Britain in the late twentieth century, Ashgate Publishing, Ltd., 2003, p165. ISBN 0-7546-0392-X
3. "Art & Language | Tate". Tate Etc. Retrieved 23 March 2017.
4. Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, UNSW Press, 2001, p47. ISBN 0-86840-588-4
5. "Art & Language". Archived from the original on 23 January 2019. Retrieved 21 May 2017.
6. "Art & Language". frieze.com. Retrieved 13 August 2019.
7. Guasch, Anna María (11 February 2011). Arte y archivo, 1920-2010: Genealogías, tipologías y discontinuidades (in Spanish). Ediciones AKAL. ISBN 9788446038146.
8. Anna Bentkowska-Kafel, Trish Cashen, Hazel Gardiner, Digital Visual Culture: Theory and Practice, Intellect Books, 2009, p104. ISBN 1-84150-248-0
9. "Des mondes à penser pour les crocodiles soumis" (in French). 30 April 2002. Retrieved 13 August 2019.
10. Charles Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, UNSW Press, 2001, p48. ISBN 0-86840-588-4
11. "U B U W E B :: Art & Language". www.ubu.com. Retrieved 13 August 2019.
12. Young, Rob (2006). Rough Trade. Black Dog Publishing. ISBN 9781904772477.
13. "Art & Language: Illustrations for Art-Language" (PDF). CCCOD. September 2017. Retrieved 13 August 2019.
14. "Annecdotes about Anonymity by Ian Milliss". joaap.org. Retrieved 13 August 2019.
15. Baumflek, David (July 2013). "Peripheral Visions: The Working Life of Ian Burn" (PDF). The Ivory Tower.
16. David, Catherine (1994). Art & Language (in French). Galerie nationale du Jeu de Paume / Réunion des musées nationaux. ISBN 9782908901214.
17. Mari, Bartomeu (2014). Art & Language Uncompleted. Barcelona Museum of Contemporary Art (MACBA). ISBN 9788492505524.
18. "MoMA PS1: Exhibitions: The Artist Out of Work: Art & Language 1972–1981". momaps1.org. Retrieved 20 October 2019.
19. Jerry Saltz, Seeing out loud: the Voice art columns, fall 1998-winter 2003, Geoffrey Young, 2003, p293. ISBN 1-930589-17-4
20. Tate. "Art & Language (Michael Baldwin, born 1945; Mel Ramsden, born 1944)". Tate.
21. Palau, Maria. "Un tresor al Macba - 30 març 2011". El Punt Avui.
22. Pacquement, Alfred; Wood, Paul (October 1993). Art & Language (1st ed.). Paris: Galerie Nationale du Jeu de Paume. pp. 149–151. ISBN 2-908901-21-8.
23. Jackson, Matthew Jesse; Chaudruc, Marie-Caroline (April 2018). Art & Language: Reality (Dark) Fragments (Light), The Philippe Méaille Collection (1st ed.). Montsoreau: Château de Montsoreau - Museum of Contemporary Art. pp. 172–173. ISBN 978-2-9557917-2-1.
24. Debbaut, Jan; Roberts, John (November 1987). Art & Language: The Paintings (1st ed.). Belgium: Palais des Beaux-Arts in Brussels. pp. 92–93.
25. Pacquement, Alfred; Wood, Paul (October 1993). Art & Language (1st ed.). Paris: Galerie Nationale du Jeu de Paume. pp. 150–151. ISBN 2-908901-21-8.
26. Jackson, Matthew Jesse; Chaudruc, Marie-Caroline (April 2018). Art & Language: Reality (Dark) Fragments (Light), The Philippe Méaille Collection (1st ed.). Montsoreau: Château de Montsoreau - Museum of Contemporary Art. p. 173. ISBN 978-2-9557917-2-1.
27. Debbaut, Jan; Roberts, John (November 1987). Art & Language: The Paintings (1st ed.). Belgium: Palais des Beaux-Arts in Brussels. p. 93.
28. "Jackson Pollock Bar: Pictures at an Exhibition - Proposals - Curatorial Intensive - Independent Curators International". curatorsintl.org. Retrieved 13 August 2019.
29. Harrison, Charles (8 August 2003). Conceptual Art and Painting: Further Essays on Art & Language. MIT Press. ISBN 9780262582407.
30. "Jackson Pollock Bar | ZKM". zkm.de. Retrieved 13 August 2019.
31. "Art & Language en práctica". Fundació Antoni Tàpies (in Spanish). Retrieved 13 August 2019.
32. Nicolas Rapold, "Interview: Kathryn Bigelow Goes Where the Action Is," The Village Voice, 23 June 2009. Access date: 27 June 2009.

External links

• Interview with Michael Baldwin and Mel Ramsden about Art & Language (2011) MP3
• Art & Language: Blurting in A & L online Hypertext version of a complete print work of 1973 by American members of Art & Language, with articles and a discussion forum.
• Thomas Dreher: Intermedia Art: Konzeptuelle Kunst with four German articles on Art & Language and a chronology with illustrated works.
• Artists group page in Artfacts.Net with actual major exhibitions.
• Andrew Hunt, Art & Language, Frieze, October 2005.
• Tom Morton, Art & Language, Frieze, April 2002.
• El análisis crítico de la modernidad de Art & Language
• Works by Art & Language at the Mulier Mulier Gallery
• Art & Language page at Lisson Gallery
• Art & Language at René Schmitt Druckgraphik
• Official site of Taddeus Ropac Gallery
• Official site of Kadel Willborn Gallery