SKU: 63036945972

Materializing Six Years

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Materializing Six YearsBy: Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book. Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and or 'dematerialized.' Lucy R. Lippard, Six Years In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle

By:      
Lucy R. Lippard's famous book, itself resembling an exhibition, is now brought full circle in an exhibition (and catalog) resembling her book.

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'”
—Lucy R. Lippard, Six Years

In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. Nearly forty years later, the Brooklyn Museum takes Lippard's celebrated experiment in curated concatenation as a template, turning a book that resembled an exhibition into an exhibition materializing the ideas in her book.

The artworks and essays featured in this publication recall the thrill that was tangible in Lippard's original documentation, reminding us that during the late sixties and early seventies all possible social and material parameters of art (making) were played with, worked over, inverted, reduced, expanded, and rejected. By tracing Lippard's own activities in those years, the book also documents the early blurring of boundaries among critical, curatorial, and artistic practices.

With more than 200 images of work by dozens of artists (printed in color throughout), this book brings Lippard's curatorial experiment full circle.

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SKU: 63036945972

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Material Type: Recycled Polyester, Color: Port Stripe, Size: X-Large
I really like this polo. I've been wearing it once a week or every other week since November. Its very comfortable and breathable. This polo feels like it should last a while. The fit is good. I typcally wear XL and this XL fits great. I've pruchased it in both burgundy and black so far. I definitely recommend this shirt. For work or casual wear, this will look good.
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Material Type: Recycled Polyester, Color: Blue, Size: X-Large
I’ve been pleasantly surprised by these shirts and wear them weekly for Zoom calls, since I’m still working from home these days. I figured at the price point it was worth trying them out, and now I’ve bought several in different colors. They aren’t super soft, but they are comfy and look nice. I’m 6’1” ~220 pounds, and the XL slim fit still has plenty of room. I imagine the regular cut is incredibly boxy and oversized. The difference between polyester vs recycled polyester is inconsequential. I typically buy expensive golf shirts, and these definitely aren’t as nice. They are a fraction of the cost though and a great “beater” work shirt / hang out shirt. It’s nice wearing something that looks and feels decent, but if something happens to it, you can toss and it and pick up another for the cost of a chipotle burrito.
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