san-francisco

Stephanie Syjuco, RAIDERS: International Booty, Bountiful Harvest (Selections from the A—— A— M——), 2011. Installation view.

Stephanie Syjuco

Catharine Clark Gallery

Stephanie Syjuco, RAIDERS: International Booty, Bountiful Harvest (Selections from the A—— A— M——), 2011. Installation view.

Having established herself as one of Conceptual art’s most passionate advocates, Lucy Lippard voiced her disillusionment with the new practice’s egalitarian, antimarket aspirations in the postface to her 1973 book, Six Years: The Dematerialization of the Art Object. She wrote, “Art and artist in a capitalist society remain luxuries,” noting how all of the major Conceptualist figures were already selling their supposedly non-object-based work in prestigious galleries. When her book was republished in 1997, Lippard sounded a more optimistic tone, introducing the volume with a new essay, “Escape Attempts,” in which she proposed that perhaps Conceptual art’s utopian possibilities were in fact “still out there, waiting for artists to plug into them.” Bay Area artist Stephanie Syjuco revisited this question in her solo exhibition “RAIDERS” at Catharine Clark Gallery this summer, directing

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