Bibliographische Detailangaben
Beteiligte: Cohen, Kris
In: Journal of Visual Culture, 15, 2016, 2, S. 250-272
veröffentlicht:
SAGE Publications
Medientyp: Artikel, E-Artikel

Nicht angemeldet

weitere Informationen
Umfang: 250-272
ISSN: 1741-2994
1470-4129
DOI: 10.1177/1470412916651902
veröffentlicht in: Journal of Visual Culture
Sprache: Englisch
Schlagwörter:
Kollektion: SAGE Publications (CrossRef)
Inhaltsangabe

<jats:p> This article begins by re-conceiving dematerialization in relation to On Kawara’s Date Paintings (1966–2009) rather than to the Conceptualist practices that first prompted Lippard and Chandler to invoke the term in 1968. In this view, the concept’s synchronic link to a generation of artists unfolds into a longer history. In such a history, phases are marked by technologies that change the material basis of the property form, thereby prompting intellectual property law to try to extend the law’s protections to the newly configured media. This article considers the introduction of the VCR and the ensuing lawsuits as one phase of dematerialization. But the VCR emerged alongside Conceptual art practices, and in those practices too, dematerialization entailed revisions and augmentations of property law. Ultimately, On Kawara’s practice helps us to sketch a pre-history of digital culture, which has seen the most rapid and aggressive expansions of the law that governs creative practice. </jats:p>