new-york

Laurie Parsons

Lorence Monk Gallery

A recurrent query into the nature of art concerning its object status has periodically led to the elimination of the object altogether. Does one have to make art to be an artist? Does art have to be perceptible, and if not, how does one know of its existence, let alone deal with it? Indeed, art as idea has accommodated seasonal shifts from the perceptual to the conceptual, and has manifested itself in phenomena ranging from the Duchampian readymade to the so-called dematerialized event. In the past decade, strategies such as appropriation and commodification have evidenced a shift in focus from the philosophical consideration of objecthood to the determining role of tradition and capital. Fueled by ever-increasing enthusiasm for precious materials and designer packaging, the perceptual metamorphosed into the fetishistic, and the more seditious implications of the conceptual were pushed

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