David Rimanelli


As anyone who regularly visits galleries knows, Conceptualism remains one of the most fertile sources for current art. At the same time, very little of the original “Idea Art” is readily available for inspection. It’s a “movement” that everybody knows something about but few people actually know. The Museum of Contemporary Art in Los Angeles did a great service with “1965–1975: RECONSIDERING THE OBJECT OF ART,” which presented the wide spectrum of activities that came to be known as Conceptualism. Including both the famous as well as many lesser-known if not altogether forgotten artists, it provided a field of reference that went far beyond a few totemic figures. And while much of the art here was characterized by the sort of deliberate visual astringency that has come to telegraph “Conceptualism” as a style, there were a number of pieces—e.g., Bas Jan Ader’s and David Askevold’s

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