The late British artist and photographer Keith Arnatt had wit and whimsy in spades, but his embrace of photography means that he has been, to a large degree, written out of the history of conceptual art. Photography: Stephen White. Courtesy of Sprüth Magers

早期的概念艺术有着惊人的机智和奇思妙想，已故的英国艺术家兼摄影师基思·阿纳特(KeithArnatt)在字面上都有这两个方面。他的主要作品之一-也是斯普鲁斯·马格斯梅菲尔分校的一场新演出的一部分-是1969年开始的自葬，这是一组阿纳特慢慢沉入地下的九张照片。(当年10月，德国一家电视台每天两次播放这首曲子，并引起了一群狂热的追随者。)

2008年去世的阿纳特，如今最出名的可能是他的18张邮报照片-他妻子乔在威尔士家中冰箱里留下的便条-“我的井筒在哪里，你这个蠢货？”，举个例子。(乔当时患有脑瘤，阿纳特一直照顾着她，直到1996年她去世，这给我妻子的“笔记”(Notes)增添了一种无法承受的情感负担。)作为一名摄影师，遛狗者和他们的狗，以及腐烂的废物像文艺复兴时期的大师一样，他对马丁·帕尔和其他人产生了重要的影响。但这部名为“艺术家的缺席”的新剧集集中在了阿纳特1967年至72年间的作品上，当时他还没有完全致力于摄影，他正在创作具有概念扭曲和更多城市干预的开拓性的本土艺术。

镜子内衬的坑，1968年，几乎是描述；一个看不见的(现在但没有)的洞或掩埋的奇怪存在的盒子，取决于时间的一天。作为他以前的自我的影子的艺术家的画像，1969-72，是一个临时的，但更永久的比通常的剪影在人行道上。阿纳特的作品似乎既具有英国特色，又符合概念主义者对艺术目的和方法的更广泛质疑-因为他是极其严肃的-以及约翰·巴尔德萨里(John Baldessari)和其他文字和绘画大师在美国的死气沉沉。阿纳特对摄影的拥抱意味着，在很大程度上，他是在概念艺术史上写出来的。这个节目应该有助于把他写回去。

'Keith Arnatt: Absence of the Artist', a new retrospective on show at Sprüth Magers, should help write him back in. Photography: Stephen White. Courtesy of Sprüth Magers

Self-Burial – one of his key works, from 1969 – is a series of nine photographs of Arnatt slowly sinking into the ground (left). Photography: Stephen White. Courtesy of Sprüth Magers

The show concentrates on Arnatt’s work between 1967–72, before he had fully committed to photography and was producing pioneering land art with a conceptual twist, as well as more urban interventions. Photography: Stephen White. Courtesy of Sprüth Magers

Arnatt’s work seems at once peculiarly British but also aligned with the conceptualists’ wider questioning of art’s purpose and methods – in that he was deadly serious. Pictured: an iteration of the Mirror-plug. Photography: Stephen White. Courtesy of Sprüth Magers

Self-Burial with Mirror, 1969. Photography: copyright Keith Arnatt Estate. All Rights Reserved, DACS 2015. Courtesy Sprüth Magers

Mirror-lined pit. An invisible hole revealed by my own shadow, 1968. Photography: copyright Keith Arnatt Estate. All Rights Reserved, DACS 2015. Courtesy Sprüth Magers  

Portrait of the Artist as a Shadow of his Former Self, 1969–72. Photography: copyright Keith Arnatt Estate. All Rights Reserved, DACS 2015. Courtesy Sprüth Magers

Mirror-lined pit (earth bottom), 1968 (first executed June 1969). Photography: copyright Keith Arnatt Estate. All Rights Reserved, DACS 2015. Courtesy Sprüth Magers

The Absence of the Artist, 1968. Photography: copyright Keith Arnatt Estate. All Rights Reserved, DACS 2015. Courtesy Sprüth Magers  

Instruction for Grass under Grass under Grass, June 1969, published in Interfunktionen 4, Cologne 1970. Courtesy Keith Arnatt Estate and Sprüth Magers

Instruction for Mirror Plug, 1968, published in Interfunktionen 4, Cologne 1970. Courtesy Keith Arnatt Estate and Sprüth Magers

Instruction for Earth Plug, 1967, published in Interfunktionen 4, Cologne 1970. Courtesy Keith Arnatt Estate and Sprüth Magers

keywords:Keith Arnatt, Spruth Magers, photography, art, conceptualism

关键词：基思·阿纳特，斯普鲁斯·马格斯，摄影，艺术，概念主义