In “The Trouble with Writing” Charles Harrison describes the work of Art and Language with an avowed sense of suspicion for the literary:
Much of the work of Art &
Language is written. Some of
this writing has been hung on
walls or stuck on walls, some
painted on walls, or printed on
paintings, or stuck to paintings.
Some of it has been published
in books and catalogs and
journals. But none of it wears
the costume of literature. It is
I wonder if Frameworks (Art & Language, 1966–1967) with its famously “identified and defended” column of air is as unliterary as Harrison suggests? Much as I admire Harrison’s critical writing, I can’t help
Art & Language (Mel Ramsden Charles Harrison Michael Baldwin) “On Painting” in: Tate Papers 1 (2004) http://www.tate.org.uk/research/publications/tate-papers/01/on-painting date of access: 17 Sept. 2018.
Browne Laynie “A Conceptual Assemblage. An Introduction” in: LaynieBrowne et al. eds. I’ll Drown My Book: Conceptual Writing by Women. Los Angeles ca: Les Figues Press2011 pp. 14–17.
BuchlohBenjamin H. D. “Spero’s Other Traditions” in: Catherine de Zegher ed. Inside the Visible: An Elliptical Traverse of 20th Century Art. Cambridge, ma: MIT Press1995 pp. 239–244.
GoldsmithKenny / Craig Dworkin Against Expression: An Anthology of Conceptual Writing. Evanston IL: Northwestern University Press2011.
HarrisonCharles “The Trouble with Writing” in: Conceptual Art and Painting: Further Essays on Art & Language. Cambridge maLondon: MIT Press2001 pp. 3–34.
HoweSusan “Sorting Facts; or, Nineteen Ways of Looking at Marker” in: Charles Warren ed. Beyond Document: Essays on Nonfiction Film. Hanover ct: Wesleyan University Press1996 pp. 295–343.
LippardLucy “Foreword” in: Mary Kelly Post-Partum Document. Berkeley, ca: University of California Press1999  pp. xi–xvi.
OlsenRedell ‘This One is For You’ and ‘Not, A Conceptual Poetics’ are quoted in this essay. ‘Not, A Conceptual Poetics’ was first published in I’ll Drown My Book: Conceptual Writing by Women. Los Angeles, ca: Les Figues Press2011.
Charles Harrison, “The Trouble with Writing,” in: Conceptual Art and Painting: Further Essays on Art & Language. Cambridge, MA, London: MIT Press, 2001, pp. 3–34: here p. 3.
Charles Bernstein, “The Response as Such: Words in Visibility,” in: M/E/A/N/I/N/G 9 (1991), pp. 3–8: here: p. 6.
Nina Felshin et al., “Women’s Work: A Lineage, 1966–1994,” in: Art Journal, 54:1 (1995), pp. 71–85: here p. 71.
Lucy Lippard, “Foreword,” in: Mary Kelly, Post-Partum Document. Berkeley, CA: University of California Press, 1999 , pp. xi–xvi: here p. xiv.
Mira Schor, Wet: On Painting, Feminism, and Art Culture. Durham, NC: Duke University Press, 1997, p. 210.
Susan Howe, “Sorting Facts; or, Nineteen Ways of Looking at Marker,” in: Charles Warren, ed., Beyond Document: Essays on Nonfiction Film. Hanover, CT: Wesleyan University Press, 1996, pp. 295–343: here p. 300.
Cf. Lynn Keller, “An Interview with Susan Howe,” in: Contemporary Literature 36:1 (1995), pp. 1–34: here p. 27.
Benjamin H. D. Buchloh, “Spero’s Other Traditions,” in: Catherine de Zegher, ed., Inside the Visible: An Elliptical Traverse of 20 th Century Art. Cambridge, MA: MIT Press, 1995, pp. 239–244: here p. 243.