{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T17:37:28Z","timestamp":1754156248722,"version":"3.41.2"},"reference-count":50,"publisher":"Emerald","issue":"6","license":[{"start":{"date-parts":[[2018,8,13]],"date-time":"2018-08-13T00:00:00Z","timestamp":1534118400000},"content-version":"tdm","delay-in-days":0,"URL":"https:\/\/www.emerald.com\/insight\/site-policies"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["JD"],"published-print":{"date-parts":[[2018,8,24]]},"abstract":"<jats:sec><jats:title content-type=\"abstract-subheading\">Purpose<\/jats:title><jats:p>The purpose of this paper is to bring the work of Seth Siegelaub (1941\u20132013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art.<\/jats:p><\/jats:sec><jats:sec><jats:title content-type=\"abstract-subheading\">Design\/methodology\/approach<\/jats:title><jats:p>This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub\u2019s key exhibition catalogues and books.<\/jats:p><\/jats:sec><jats:sec><jats:title content-type=\"abstract-subheading\">Findings<\/jats:title><jats:p>Siegelaub\u2019s theories of information have much in common with the documentalist tradition. Siegelaub\u2019s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies.<\/jats:p><\/jats:sec><jats:sec><jats:title content-type=\"abstract-subheading\">Originality\/value<\/jats:title><jats:p>To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.<\/jats:p><\/jats:sec>","DOI":"10.1108\/jd-01-2018-0010","type":"journal-article","created":{"date-parts":[[2018,8,13]],"date-time":"2018-08-13T10:34:45Z","timestamp":1534156485000},"page":"1149-1161","source":"Crossref","is-referenced-by-count":3,"title":["Art as document: on conceptual art and documentation"],"prefix":"10.1108","volume":"74","author":[{"given":"Jim","family":"Berryman","sequence":"first","affiliation":[],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"140","published-online":{"date-parts":[[2018,8,13]]},"reference":[{"key":"key2021041507440280000_ref001","unstructured":"Alberro, A. (1999), \u201cReconsidering conceptual art, 1966\u20131977\u201d, in Alberro, A. and Stimson, B. (Eds), Conceptual Art: A Critical Anthology, MIT Press, Cambridge, MA, pp. xvi-xxxvii."},{"key":"key2021041507440280000_ref002","unstructured":"Alberro, A. (2001), \u201cAt the threshold of art as information\u201d, in Alberro, A. and Norvell, P. (Eds), Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson and Weiner, University of California Press, Berkeley, CA, pp. 1-15."},{"volume-title":"Conceptual Art and The Politics of Publicity","year":"2003","key":"key2021041507440280000_ref003"},{"key":"key2021041507440280000_ref004","unstructured":"Battcock, G. (1973), \u201cDocumentation in conceptual art\u201d, in Battcock, G. 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