Katia Schneller recently
defended an excellent dissertation on the constructions and deconstructions
of artistic categories in New York between 1966 and 1973. In her
thesis, Schneller described the proliferation of all kinds of
labels, from Minimal Art to Postminimalism, passing by way of
Conceptual Art and the Anti-Form movement. Such labels offer less
an account of clear categories of new artistic practices than
an understanding of how the notion of style was being redefined.
This way of mimicking the breaks made by various avant-garde movements
has served as a prelude to the situation we have today, where
the attribution of names corresponds to an attempt to define the
nature of artistic activity. The project of Vanessa Théodoropoulou
and Tristan Tremeau here is to study what is covered by such nominalism.