ARTBOOK BLOGEventsStore NewsMuseum Stores of the MonthNew Title ReleasesStaff PicksImage GalleryBooks in the MediaExcerpts & EssaysArtbook InterviewsEx LibrisAt First SightThe Artbook 2023 Gift GuidesArtbook Featured Image ArchiveArtbook D.A.P. Events ArchiveDATE 7/22/2024 Explore the influence of Islamic art and design on Cartier luxury objectsDATE 7/18/2024 Join us at the San Francisco Art Book Fair, 2024!DATE 7/18/2024 History and healing in Calida Rawles' 'Away with the Tides'DATE 7/16/2024 Join us at the Atlanta Gift & Home Summer Market 2024DATE 7/15/2024 In 'Gordon Parks: Born Black,' a personal report on a decade of Black revoltDATE 7/14/2024 Familiar Trees presents a marathon reading of Bernadette Mayer's 'Memory'DATE 7/11/2024 Early 20th-century Japanese graphic design shines in 'Songs for Modern Japan'DATE 7/8/2024 For 1970s beach vibe, you can’t do better than Joel Sternfeld’s ‘Nags Head’DATE 7/5/2024 Celebrate summer with Tony Caramanico’s Montauk Surf JournalsDATE 7/4/2024 For love, and for countryDATE 7/1/2024 Summertime Staff Picks, 2024!DATE 7/1/2024 Enter the dream space of Francesca Woodman and Julia Margaret CameronDATE 6/30/2024 Celebrate the extraordinary freedom of Cookie Mueller in this Pride Month Pick | EXCERPTS & ESSAYSMING LIN | DATE 7/24/2011Documenta Notebooks: Lawrence Weiner"IF IN FACT THERE IS A CONTEXT..." begins Lawrence Weiner, rather skeptically, in his contribution to Hatje Cantz and Documenta's series, 100 Notes, 100 Thoughts. Weiner, a formative figure of the conceptual art movement, is known for his bold typographic works displayed as wall installations. His very literal phrases—for example the famous work "A 36" X 36" REMOVAL TO THE LATHING OR SUPPORT WALL OF PLASTER OR WALL-BOARD FROM A WALL"—lead the viewer to question whether the work of art is the object or action described or the text itself. Like Joseph Kosuth's 1965 "One and Three Chairs" piece, which features a chair, a photograph of the same chair and a copy of the dictionary definition of the word "chair," Weiner's work invites ambiguity in order to interrogate themes such as what an original work of art consists of and how meaning is made. ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |