Roger Ackling

Annely Juda Fine Art

A postulate of Minimalism and Conceptualism was that art is a kind of phenomenological frame. The frame as such was autonomous, independent of any charge or sign. Purely affirmative in and of itself, it bracketed or suspended the motivation of the world to reveal the motif of the world wherever and whenever the attention arrested. The consequent characteristic of much of this work was a double “ecceity,” or “here-is-ness”; the presence of both art-as-art and thing-as-thing (or site-as-site) was reaffirmed in a simultaneous act. In structuring such work, only two forms of practice were admitted. The first proceeded from the absolute priority of a conceptual order, executed with implacable indifference across any or every material, field, or site. The second, contrarily, proceeded from any or every “phenomenology of making” intrinsic to whatsoever chosen material, field, or site.


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