![]() ![]() This text helped cement dematerialization’s status as foundational to twentieth-century art history. The book-with its title of more than eighty words in length-functioned as a retrospective archive of sorts that assembled a network of texts, documents, and works of art that defined the “ideas in the air” circulating around this time. In 1973, Lippard published Six Years: The Dematerialization of the Art Object from 1966 to 1972. ![]() Through dematerialization, the critics believed art might escape commodification because dealers could not sell art-as-idea. ![]() Lippard and Chandler dubbed this radical transformation “dematerialization,” a term that has since matriculated into art historians’ lexicons, as well as the annals of art history. As examples of this trend, the authors discussed now-legendary pieces like Hanne Darboven’s schematic serial drawings and Joseph Kosuth’s cool, distanced definitions, which have become examples of Conceptual Art par excellence. In their frequently cited essay “The Dematerialization of Art”-which appeared in the February, 1968 issue of Art International-art critics Lucy lippard and John Chandler prognosticated a future without objects, and described an emerging “ultra-conceptual” art that would no longer require studios as sites of material production. ![]()
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