New York Institute of Art and Design Staging Certificate

Art movement

Conceptual art, as well referred to every bit conceptualism, is fine art in which the concept(southward) or thought(south) involved in the work take precedence over traditional aesthetic, technical, and material concerns. Some works of conceptual art, sometimes called installations, may be synthetic by anyone but past following a set of written instructions.^[1] This method was fundamental to American creative person Sol LeWitt's definition of conceptual art, one of the kickoff to announced in impress:

In conceptual fine art the idea or concept is the most important attribute of the piece of work. When an artist uses a conceptual form of fine art, information technology ways that all of the planning and decisions are made beforehand and the execution is a perfunctory thing. The idea becomes a car that makes the art.^[2]

Tony Godfrey, writer of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of fine art,^[iii] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual fine art, Art after Philosophy (1969). The notion that art should examine its own nature was already a stiff aspect of the influential fine art critic Clement Greenberg's vision of Modern fine art during the 1950s. With the emergence of an exclusively language-based fine art in the 1960s, however, conceptual artists such as Art & Linguistic communication, Joseph Kosuth (who became the American editor of Art-Linguistic communication), and Lawrence Weiner began a far more than radical interrogation of art than was previously possible (see below). One of the first and well-nigh important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.^{[4] [five] [6]}

Through its clan with the Young British Artists and the Turner Prize during the 1990s, in popular usage, peculiarly in the United Kingdom, "conceptual fine art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture.^[vii] One of the reasons why the term "conceptual art" has come to be associated with diverse contemporary practices far removed from its original aims and forms lies in the trouble of defining the term itself. Equally the creative person Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being dislocated with "intention". Thus, in describing or defining a work of fine art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention".

Precursors [edit]

The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance. The nigh famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed past the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Contained Artists in New York (which rejected it).^[eight] The artistic tradition does non see a commonplace object (such as a urinal) as art because it is not made past an artist or with whatever intention of being art, nor is information technology unique or hand-crafted. Duchamp'due south relevance and theoretical importance for futurity "conceptualists" was later acknowledged by US artist Joseph Kosuth in his 1969 essay, Art afterwards Philosophy, when he wrote: "All art (after Duchamp) is conceptual (in nature) because art but exists conceptually".

In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, by its very nature, could never be created in reality, but which could yet provide aesthetic rewards by being contemplated intellectually. This concept, also chosen Art esthapériste (or "infinite-aesthetics"), derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could non actually exist except conceptually. The current incarnation (As of 2013^[update]) of the Isouian movement, Excoördism, self-defines as the fine art of the infinitely large and the infinitely pocket-sized.

Origins [edit]

In 1961, philosopher and artist Henry Flynt coined the term "concept fine art" in an commodity bearing the aforementioned name which appeared in the proto-Fluxus publication An Anthology of Take chances Operations.^[9] Flynt's concept art, he maintained, devolved from his notion of "cognitive nihilism", in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles.^[10] Therefore, Flynt maintained, to merit the label concept art, a work had to be a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent from subsequent "conceptual fine art".^[11]

The term assumed a different pregnant when employed by Joseph Kosuth and by the English Art and Linguistic communication grouping, who discarded the conventional art object in favour of a documented critical enquiry, that began in Art-Linguistic communication: The Journal of Conceptual Art in 1969, into the artist's social, philosophical, and psychological condition. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 Conceptual Fine art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center.^[12]

The critique of formalism and of the commodification of fine art [edit]

Conceptual art emerged equally a movement during the 1960s – in part as a reaction against formalism as then articulated by the influential New York fine art critic Cloudless Greenberg. According to Greenberg Modern art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to ascertain precisely what kind of object a painting truly is: what makes it a painting and goose egg else. As it is of the nature of paintings to be flat objects with sail surfaces onto which colored pigment is applied, such things equally figuration, 3-D perspective illusion and references to external bailiwick matter were all constitute to exist extraneous to the essence of painting, and ought to be removed.^[xiii]

Some have argued that conceptual fine art continued this "dematerialization" of art by removing the need for objects altogether,^[fourteen] while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg'due south kind of formalist Modernism. Afterwards artists continued to share a preference for art to be self-critical, as well equally a distaste for illusion. All the same, by the finish of the 1960s it was certainly clear that Greenberg'south stipulations for fine art to go on within the confines of each medium and to exclude external subject matter no longer held traction.^[15] Conceptual art as well reacted against the commodification of art; it attempted a subversion of the gallery or museum every bit the location and determiner of art, and the fine art market place as the owner and distributor of art. Lawrence Weiner said: "One time you know about a work of mine you own it. In that location's no mode I can climb inside somebody'south caput and remove it." Many conceptual artists' work can therefore simply be known nearly through documentation which is manifested by it, e.m., photographs, written texts or displayed objects, which some might argue are not in and of themselves the fine art. Information technology is sometimes (every bit in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of actually making it—emphasising the idea equally more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and craft, where art, unlike arts and crafts, takes place within and engages historical soapbox: for example, Ono's "written instructions" make more sense alongside other conceptual art of the time.

Lawrence Weiner. Bits & Pieces Put Together to Nowadays a Semblance of a Whole, The Walker Art Center, Minneapolis, 2005.

Language and/as art [edit]

Language was a central concern for the starting time wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, simply in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[16] Joseph Kosuth, Robert Barry, and Art & Language begin to produce art past exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching composition (e.g. Constructed Cubism), the conceptual artists used language in place of castor and canvas, and allowed information technology to signify in its ain right.^[17] Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the linguistic communication employed, while presentational means and contextual placement play crucial, yet split up, roles."^[eighteen]

The British philosopher and theorist of conceptual art Peter Osborne suggests that among the many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from the plow to linguistic theories of significant in both Anglo-American analytic philosophy, and structuralist and mail structuralist Continental philosophy during the middle of the twentieth century. This linguistic plow "reinforced and legitimized" the direction the conceptual artists took.^[19] Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based academy training in art.^[20] Osborne later on made the observation that contemporary art is post-conceptual ^[21] in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. Information technology is a claim fabricated at the level of the ontology of the work of art (rather than say at the descriptive level of style or motility).

The American fine art historian Edward A. Shanken points to the example of Roy Ascott who "powerfully demonstrates the pregnant intersections betwixt conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British creative person about closely associated with cybernetic art in England, was non included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and did not explicitly utilize applied science. Conversely, although his essay on the application of cybernetics to fine art and art education, "The Structure of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard's seminal Six Years: The Dematerialization of the Art Object from 1966 to 1972, Ascott'south anticipation of and contribution to the formation of conceptual fine art in Britain has received scant recognition, perhaps (and ironically) because his work was as well closely allied with art-and-technology. Another vital intersection was explored in Ascott'south use of the thesaurus in 1963 telematic connections:: timeline, which drew an explicit parallel betwixt the taxonomic qualities of exact and visual languages – a concept would be taken up in Joseph Kosuth's 2nd Investigation, Proposition one (1968) and Mel Ramsden'southward Elements of an Incomplete Map (1968).

Conceptual art and artistic skill [edit]

By adopting linguistic communication as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Linguistic communication were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials.^[eighteen]

An important divergence betwixt conceptual art and more than "traditional" forms of art-making goes to the question of artistic skill. Although skill in the handling of traditional media ofttimes plays little role in conceptual art, it is difficult to argue that no skill is required to make conceptual works, or that skill is always absent from them. John Baldessari, for case, has presented realist pictures that he commissioned professional sign-writers to paint; and many conceptual operation artists (e.g. Stelarc, Marina Abramović) are technically accomplished performers and skilled manipulators of their own bodies. It is thus non and so much an absence of skill or hostility toward tradition that defines conceptual fine art as an evident disregard for conventional, modernistic notions of authorial presence and of private artistic expression.^{[ commendation needed ]}

Gimmicky influence [edit]

Proto-conceptualism has roots in the rise of Modernism with, for example, Manet (1832–1883) and later Marcel Duchamp (1887–1968). The first wave of the "conceptual art" move extended from approximately 1967^[22] to 1978. Early "concept" artists like Henry Flynt (1940– ), Robert Morris (1931–2018), and Ray Johnson (1927–1995) influenced the later, widely accepted motion of conceptual fine art. Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner have proven very influential on subsequent artists, and well-known contemporary artists such as Mike Kelley or Tracey Emin are sometimes labeled^{[ by whom? ]} "2nd- or tertiary-generation" conceptualists, or "mail-conceptual" artists (the prefix Post- in art tin can frequently be interpreted as "because of").

Contemporary artists have taken upwardly many of the concerns of the conceptual fine art move, while they may or may not term themselves "conceptual artists". Ideas such every bit anti-commodification, social and/or political critique, and ideas/information as medium continue to be aspects of contemporary art, especially amidst artists working with installation fine art, performance art, net.art and electronic/digital art.^{[23] [ need quotation to verify ]}

Notable examples [edit]

• 1913 : Bicycle Wheel (Roue de bicyclette) by Marcel Duchamp. Assisted readymade. Bicycle wheel mounted by its fork on a painted wooden stool. The kickoff readymade, fifty-fifty though he did not take the thought for readymades until two years after. The original was lost. Too, recognized every bit the first kinetic sculpture.^[24]
• 1914 : Pharmacy (Pharmacie) by Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with bare copse and a winding stream to which he added two circles, red and green.
• 1914 : Bottle Rack (also called Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) past Marcel Duchamp. Readymade. A galvanized iron bottle drying rack that Duchamp bought as an "already made" sculpture, only it gathered grit in the corner of his Paris studio. Two years later in 1916, in correspondence from New York with his sis, Suzanne Duchamp in France, he expresses a want to make information technology a readymade. Suzanne, looking after his Paris studio, has already disposed of it.
• 1915 : In Accelerate of the Cleaved Arm (En prévision du bras cassé) past Marcel Duchamp. Readymade. Snow shovel on which Duchamp carefully painted its title. The commencement piece the artist officially chosen a "readymade".
• 1915 : Pulled at four pins by Marcel Duchamp. Readymade. An unpainted chimney ventilator that turns in the current of air. Duchamp liked that the literal translation meant nothing in English language and had no relation to the object.
• 1916 : With Subconscious Dissonance (A bruit undercover) by Marcel Duchamp. Assisted readymade. A brawl of twine between two brass plates, joined by four screws. An unknown object has been placed in the ball of twine by Duchamp's friend, Walter Arensberg.
• 1916 : Comb (Peigne) by Marcel Duchamp. Readymade. Steel dog preparation comb inscribed along the edge.
• 1917 : Traveller's Folding Item (...pliant,... de voyage) by Marcel Duchamp. Readymade. Underwood Typewriter cover.
• 1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An altered Sapolin paint ad.
• 1917 : Fountain by Marcel Duchamp, described in an article in The Independent as the invention of conceptual art. It is as well an early instance of an Institutional Critique^[25]
• 1917 : 'Trap (Trébuchet) by Marcel Duchamp. Readymade. Woods and metallic coatrack attached to floor.
• 1917 : Lid Rack (Porte-chapeaux), c. 1917, by Marcel Duchamp. Readymade. A wooden hatrack.^[26]
• 1919 : L.H.O.O.Q. by Marcel Duchamp. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci'south Mona Lisa on which he drew a goatee and moustache titled with a coarse pun.^[27]
• 1919 : Unhappy readymade, past Marcel Duchamp. Assisted readymade. Duchamp instructed his sister Suzanne to hang a geometry textbook from the balcony of her Paris apartment. Suzanne carried out the instructions and painted a motion-picture show of the upshot.
• 1919 : 50 cc of Paris Air (l cc air de Paris, Paris Air or Air de Paris) past Marcel Duchamp. Readymade. A glass ampoule containing air from Paris. Duchamp took the ampoule to New York Urban center in 1920 and gave information technology to Walter Arensberg as a gift.
• 1920 : Fresh Widow by Marcel Duchamp. Readymade. An altered French window creating a pun.
• 1921 : Why Non Sneeze, Rose Sélavy? by Marcel Duchamp. Assisted readymade. Marble cubes in the shape of sugar lumps with a thermometer and cuttle bones in a small bird cage.
• 1921 : Belle Haleine, Eau de Voilette past Marcel Duchamp. Assisted readymade. An contradistinct perfume bottle in the original box.^[28]
• 1921 : The Ball at Austerlitz by Marcel Duchamp. Readymade. Similar Fresh Widow, made by a carpenter co-ordinate to Duchamp'south specifications.
• 1923 : Wanted, $two,000 Advantage by Marcel Duchamp. Rectified readymade. Photographic collage on poster.
• 1952 : The premiere of American experimental composer John Cage's work, four′33″, a three-movement composition, performed by pianist David Tudor on Baronial 29, 1952, in Maverick Concert Hall, Woodstock, New York, every bit function of a recital of contemporary pianoforte music.^[29] It is commonly perceived equally "4 minutes thirty-three seconds of silence".
• 1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. It raised many questions almost the fundamental nature of fine art, challenging the viewer to consider whether erasing some other artist'due south work could exist a artistic act, as well as whether the work was only "art" considering the famous Rauschenberg had washed information technology.
• 1955 : Rhea Sue Sanders creates her offset text pieces of the series pièces de complices, combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.^[30]
• 1956 : Isidore Isou introduces the concept of minute art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics).
• 1957: Yves Klein, Aerostatic Sculpture (Paris), composed of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Bluish Epoch exhibition. Klein also exhibited One Minute Burn down Painting, which was a blue panel into which 16 firecrackers were set. For his adjacent major exhibition, The Void in 1958, Klein declared that his paintings were now invisible – and to prove it he exhibited an empty room.
• 1958: George Brecht invents the Effect Score ^[31] which would go a cardinal feature of Fluxus. Brecht, Dick Higgins, Allan Kaprow, Al Hansen, Jackson MacLow and others studied with John Cage between 1958 and 1959 at the New School leading directly to the creation of Happenings, Fluxus and Henry Flynt's concept art. Event Scores are simple instructions to complete everyday tasks which can be performed publicly, privately, or non at all.
• 1958: Wolf Vostell Das Theater ist auf der Straße/The theater is on the street. The offset Happening in Europe.^[32]
• 1960: Yves Klein'due south activeness called A Leap Into The Void, in which he attempts to wing by leaping out of a window. He stated: "The painter has merely to create i masterpiece, himself, constantly."
• 1960: The creative person Stanley Brouwn declares that all the shoe shops in Amsterdam establish an exhibition of his work.
• 1961: Wolf Vostell Cityrama, in Cologne – the first Happening in Germany.
• 1961: Robert Rauschenberg sent a telegram to the Galerie Iris Clert which read: 'This is a portrait of Iris Clert if I say so.' as his contribution to an exhibition of portraits.
• 1961: Piero Manzoni exhibited Artist's Shit, tins purportedly containing his own carrion (although since the work would exist destroyed if opened, no ane has been able to say for sure). He put the tins on sale for their ain weight in golden. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). Marcel Broodthaers and Primo Levi are amid the designated "artworks".
• 1962: Artist Barrie Bates rebrands himself as Billy Apple, erasing his original identity to go along his exploration of everyday life and commerce as art. By this stage, many of his works are made by third parties.^[33]
• 1962: Christo's Iron Mantle work. This consists of a battlement of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was non the battlement itself merely the resulting traffic jam.
• 1962: Yves Klein presents Immaterial Pictorial Sensitivity in various ceremonies on the banks of the Seine. He offers to sell his own "pictorial sensitivity" (whatsoever that was – he did not define information technology) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the golden leaf in return for a certificate. Since Klein'due south sensitivity was immaterial, the purchaser was so required to burn the certificate whilst Klein threw half the gilt leaf into the Seine. (There were vii purchasers.)
• 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork.
• 1962: Alberto Greco began his Vivo Dito or Live Art series, which took identify in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attention to the fine art in everyday life, thereby asserting that art was really a process of looking and seeing.
• 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with George Maciunas, Wolf Vostell, Nam June Paik and others.^[34]
• 1963: George Brecht's drove of Event-Scores, Water Yam, is published as the kickoff Fluxkit by George Maciunas.
• 1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
• 1963: Henry Flynt'southward commodity Concept Art is published in An Anthology of Chance Operations; a collection of artworks and concepts past artists and musicians that was published past Jackson Mac Low and La Monte Young (ed.). An Anthology of Run a risk Operations documented the development of Dick Higgins'south vision of intermedia art in the context of the ideas of John Cage, and became an early on pre-Fluxus masterpiece. Flynt'southward "concept fine art" devolved from his thought of "cognitive nihilism" and from his insights well-nigh the vulnerabilities of logic and mathematics.
• 1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings, an example of heuristic art, or a series of instructions for how to obtain an aesthetic feel.
• 1965: Art & Language founder Michael Baldwin's Mirror Piece. Instead of paintings, the piece of work shows a variable number of mirrors that challenge both the visitor and Clement Greenberg'southward theory.^[35]
• 1965: A complex conceptual art piece by John Latham chosen Still and Chew. He invites art students to protest against the values of Clement Greenberg'due south Art and Culture, much praised and taught at Saint Martin's Schoolhouse of Fine art in London, where Latham taught part-time. Pages of Greenberg's book (borrowed from the college library) are chewed past the students, dissolved in acrid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his part-time position.
• 1965: with Show V, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual art in the Netherlands. In the show, various air doors are placed where people can walk through them. People take the sensory experience of warmth, air. Three invisible air doors, which arise equally currents of cold and warm are blown into the room, are indicated in the infinite with bundles of arrows and lines. The joint of the space that arises is the outcome of invisible processes which influence the conduct of persons in that space, and who are included in the system as co-performers.
• Joseph Kosuth dates the concept of I and Three Chairs to the twelvemonth 1965. The presentation of the work consists of a chair, its photo, and an enlargement of a definition of the discussion "chair". Kosuth chose the definition from a dictionary. Four versions with dissimilar definitions are known.
• 1966: Conceived in 1966 The Air Conditioning Show of Art & Linguistic communication is published as an article in 1967 in the November issue of Arts Magazine.^[36]
• 1966: N.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Place, the contents of a four-room apartment wrapped in plastic bags. The same year they registered equally a corporation and subsequently organized their practice along corporate models, i of the starting time international examples of the "aesthetic of assistants".
• 1967: Mel Ramsden's first 100% Abstract Paintings. The painting shows a list of chemic components that constitutes the substance of the painting.^[37]
• 1967: Sol LeWitt'due south Paragraphs on Conceptual Art were published by the American art journal Artforum. The Paragraphs marker the progression from Minimal to Conceptual Art.
• 1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language.^[38]
• 1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent", one of the nigh important conceptual art statements following LeWitt'due south "Paragraphs on Conceptual Fine art". The announcement, which underscores his subsequent practice, reads: "1. The creative person may construct the piece. 2. The slice may be fabricated. three. The piece need not be built. Each being equal and consequent with the intent of the artist the decision every bit to condition rests with the receiver upon the occasion of receivership."
• Friedrich Heubach launches the magazine Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. It originally showed a Fluxus influence, just afterwards moved toward conceptual art.
• 1969: The start generation of New York culling exhibition spaces are established, including Billy Apple'south APPLE, Robert Newman's Proceeds Ground, where Vito Acconci produced many important early works, and 112 Greene Street.^{[33] [39]}
• 1969: Robert Barry'southward Telepathic Slice at Simon Fraser Academy, Vancouver, of which he said "During the exhibition I will try to communicate telepathically a work of fine art, the nature of which is a serial of thoughts that are not applicable to language or paradigm."
• 1969: The first issue of Art-Language: The Journal of conceptual art is published in May, edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Language are the editors of this outset number, and by the 2d number Joseph Kosuth joins and serves as American editor until 1972.
• 1969: Vito Acconci creates Following Piece, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented every bit photographs.
• The English language journal Studio International publishes Joseph Kosuth´s article "Art after Philosophy" in three parts (October–December). It became the most discussed article on conceptual art.
• 1970: Ian Fire, Mel Ramsden and Charles Harrison join Art & Language.^[38]
• 1970: Painter John Baldessari exhibits a movie in which he sets a series of erudite statements past Sol LeWitt on the subject of conceptual art to pop tunes similar "Camptown Races" and "Some Enchanted Evening".
• 1970: Douglas Huebler exhibits a series of photographs taken every two minutes while driving along a road for 24 minutes.
• 1970: Douglas Huebler asks museum visitors to write down 'one authentic secret'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading as nigh secrets are like.
• 1971: Hans Haacke'southward Existent Time Social System. This slice of systems art detailed the real estate holdings of the third largest landowners in New York City. The properties, generally in Harlem and the Lower Eastward Side, were bedraggled and poorly maintained, and represented the largest concentration of existent estate in those areas under the control of a single group. The captions gave diverse fiscal details about the buildings, including recent sales between companies owned or controlled past the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the piece of work constituted "an conflicting substance that had entered the art museum organism". At that place is no prove to suggest that the trustees of the Guggenheim were linked financially to the family which was the subject of the work.
• 1972: The Art & Language Establish exhibits Index 01 at the Documenta 5, an installation indexing text-works by Fine art & Linguistic communication and text-works from Art-Language.
• 1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his work: Aquinocabeelarte (Art does not fit here), where each of the messages is a divide poster, and nether each letter is written the name of some victim of state repression.
• 1972: Fred Forest buys an area of bare space in the paper Le Monde and invites readers to fill information technology with their ain works of art.
• Full general Idea launch File magazine in Toronto. The mag functioned every bit something of an extended, collaborative artwork.
• 1973: Jacek Tylicki lays out bare canvases or paper sheets in the natural environment for nature to create art.
• 1974: Cadillac Ranch near Amarillo, Texas.
• 1975–76: Three problems of the journal The Fox were published by Art & Language in New York. The editor was Joseph Kosuth. The Fox became an important platform for the American members of Art & Language. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote manufactures which thematized the context of contemporary art. These articles exemplify the development of an institutional critique within the inner circumvolve of conceptual art. The criticism of the art globe integrates social, political and economical reasons.
• 1975–77 Orshi Drozdik'due south Individual Mythology operation, photography and offsetprint series and her theory of ImageBank in Budapest.
• 1976: facing internal bug, members of Fine art & Language separate. The destiny of the proper name Art & Linguistic communication remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
• 1977: Walter De Maria'southward Vertical World Kilometer in Kassel, Germany. This was a one kilometer brass rod which was sunk into the world so that zilch remained visible except a few centimeters. Despite its size, therefore, this work exists more often than not in the viewer'due south mind.
• 1982: The opera Victorine by Art & Linguistic communication was to be performed in the urban center of Kassel for documenta 7 and shown aslope Art & Language Studio at 3 Wesley Place Painted by Actors, only the functioning was cancelled.^[40]
• 1986: Fine art & Language are nominated for the Turner Prize.
• 1989: Christopher Williams' Republic of angola to Vietnam is first exhibited. The work consists of a serial of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen co-ordinate to a listing of the xxx-six countries in which political disappearances were known to take taken identify during the year 1985.
• 1990: Ashley Bickerton and Ronald Jones included in "Heed Over Thing: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Art.^[41]
• 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery.^[42]
• 1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Listen of Someone Living, a shark in formaldehyde in a vitrine.
• 1992: Maurizio Bolognini starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would see.^[43]
• 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called Tournez manège (The Dating Game) where the female person presenter asked him who he was, to which he replied: 'A multimedia creative person'. Laurette had sent out invitations to an art audience to view the show on TV from their homes, turning his staging of the artist into a performed reality.
• 1993: Vanessa Beecroft holds her outset functioning in Milan, Italy, using models to human activity as a second audience to the brandish of her diary of food.
• 1999: Tracey Emin is nominated for the Turner Prize. Role of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
• 2001: Martin Creed wins the Turner Prize for Work No. 227: The lights going on and off, an empty room in which the lights go on and off.^[44]
• 2003: damali ayo exhibits at the Heart of Gimmicky Art, Seattle, WA Flesh Tone #1: Skinned, a collaborative self-portrait where she asked paint mixers from local hardware stores to create business firm paint to match various parts of her body, while recording the interactions.^[45]
• 2004: Andrea Fraser'due south video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to assistance finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied past her 1993 piece of work Don't Postpone Joy, or Collecting Can Be Fun, a 27-folio transcript of an interview with a collector in which the bulk of the text has been deleted.
• 2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated downwards the Rhine and turned back into a shed over again.^[46]
• 2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin.
• 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Military Justice on Vienna's Ballhausplatz after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet Ian Hamilton Finlay (1924–2006) with but two words: all lone.

Notable conceptual artists [edit]

• Kevin Abosch (born 1969)
• Vito Acconci (1940–2017)
• Bas Jan Ader (1942–1975)
• Vikky Alexander (born 1959)
• Francis Alÿs (born 1959)
• Keith Arnatt (1930–2008)
• Art & Language
• Roy Ascott (born 1934)
• Marina Abramović (born 1946)
• Billy Apple (born 1935)
• Shusaku Arakawa (1936–2010)
• Christopher D'Arcangelo (1955–1979)
• Michael Asher (1943–2012)
• Mireille Astore (built-in 1961)
• damali ayo (born 1972)
• Abel Azcona (born 1988)
• John Baldessari (1931–2020)
• Adina Bar-On (born 1951)
• NatHalie Braun Barends
• Artur Barrio (born 1945)
• Robert Barry (born 1936)
• Lothar Baumgarten (1944–2018)
• Joseph Beuys (1921–1986)
• Adolf Bierbrauer (1915–2012)
• Mark Bloch (built-in 1956)
• Mel Bochner (born 1940)
• Marinus Boezem (built-in 1934)
• Maurizio Bolognini (born 1952)
• Allan Span (1945–1995)
• Marcel Broodthaers (1924–1976)
• Chris Burden (1946–2015)
• María Teresa Burga Ruiz (1935–2021)
• Daniel Buren (born 1938)
• Victor Burgin (born 1941)
• Donald Burgy (born 1937)
• Maris Bustamante (built-in 1949)
• John Cage (1912–1992)
• Cai Guo-Qiang (born 1957)
• Sophie Calle (born 1953)
• Graciela Carnevale (built-in 1942)
• Roberto Chabet (1937–2013)
• Greg Colson (born 1956)
• Martin Creed (built-in 1968)
• Cory Danziger (born 1977)
• Jack Daws (built-in 1970)
• Jeremy Deller (born 1966)
• Agnes Denes (born 1938)
• January Dibbets (born 1941)
• Mark Divo (born 1966)
• Brad Downey (born 1980)
• Marcel Duchamp (1887–1968)
• Olafur Eliasson (born 1967)
• Noemí Escandell (1942–2019)
• Ken Feingold (born 1952)
• Teresita Fernández (born 1968)
• Fluxus
• Henry Flynt (built-in 1940)
• Andrea Fraser (born 1965)
• Jens Galschiøt (born 1954)
• Kendell Geers
• Thierry Geoffroy (born 1961)
• Jochen Gerz (born 1940)
• Gilbert and George Gilbert (born 1943) George (built-in 1942)
• Manav Gupta (built-in 1967)
• Felix Gonzalez-Torres (1957–1996)
• Allan Graham (1943–2019)
• Dan Graham (1942-2022)
• Hans Haacke (built-in 1936)
• Iris Häussler (born 1962)
• Irma Hünerfauth (1907–1998)
• Oliver Herring (born 1964)
• Andreas Heusser (born 1976)
• Jenny Holzer (built-in 1950)
• Greer Honeywill (born 1945)
• Zhang Huan (born 1965)
• Douglas Huebler (1924–1997)
• Full general Idea
• David Ireland (1930–2009)
• Alfredo Jaar (born 1956)
• Ray Johnson (1927–1995)
• Ronald Jones (1952–2019)
• Ilya Kabakov (built-in 1933)
• On Kawara (1932–2014)
• Jonathon Keats (built-in 1971)
• Mary Kelly (born 1941)
• Yves Klein (1928–1962)
• John Knight (artist) (built-in 1945)
• Joseph Kosuth (born 1945)
• Barbara Kruger (built-in 1945)
• Yayoi Kusama (born 1929)
• Magali Lara (born 1956)
• John Latham (1921–2006)
• Matthieu Laurette (born 1970)
• Sol LeWitt (1928–2007)
• Annette Lemieux (born 1957)
• Elliott Linwood (born 1956)
• Noah Lyon (born 1979)
• Richard Long (built-in 1945)
• Marking Lombardi (1951–2000)
• George Maciunas (1931–1978)
• Teresa Margolles (born 1963)
• María Evelia Marmolejo (born 1958)
• Piero Manzoni (1933–1963)
• Tom Marioni (built-in 1937)
• Phyllis Marker (1921–2004)
• Danny Matthys (built-in 1947)
• Allan McCollum (born 1944)
• Cildo Meireles (born 1948)
• Ana Mendieta (born 1985)
• Marta Minujín (born 1943)
• Linda Montano (born 1942)
• Robert Morris (artist) (1931–2018)
• N.E. Matter Co. Ltd. (Iain & Ingrid Baxter) Iain (built-in 1936) Ingrid (born 1938)
• Maurizio Nannucci (built-in 1939)
• Bruce Nauman (born 1941)
• Olaf Nicolai (born 1962)
• Margaret Noble (born 1972)
• Yoko Ono (born 1933)
• Roman Opałka (1931–2011)
• Dennis Oppenheim (1938–2011)
• Michele Pred
• Adrian Piper (born 1948)
• William Pope.L (born 1955)
• Liliana Porter (born 1941)
• Dmitri Prigov (1940–2007)
• Guillem Ramos-Poquí (built-in 1944)
• Charles Recher (1950–2017)
• Jim Ricks (built-in 1973)
• Lotty Rosenfeld (1943–2020)
• Martha Rosler (born 1943)
• Allen Ruppersberg (built-in 1944)
• Santiago Sierra (born 1966)
• Bodo Sperling (born 1952)
• Stelarc (built-in 1946)
• M. Vänçi Stirnemann (born 1951)
• Hiroshi Sugimoto (born 1948)
• Stephanie Syjuco (built-in 1974)
• Hakan Topal (built-in 1972)
• Endre Tot (built-in 1937)
• David Tremlett (built-in 1945)
• Tucumán arde (1968)
• Jacek Tylicki (built-in 1951)
• Mierle Laderman Ukeles (born 1939)
• Wolf Vostell (1932–1998)
• Mark Wallinger (born 1959)
• Gillian Wearing (born 1963)
• Peter Weibel (born 1945)
• Lawrence Weiner (born 1942)
• Roger Welch (built-in 1946)
• Christopher Williams (born 1956)
• xurban collective
• Industry of the Ordinary
• Arne Quinze (built-in 1971)

See besides [edit]

• Post-conceptualism
• Anti-art
• Anti-anti-art
• Trunk fine art
• Classificatory disputes about art
• Conceptual architecture
• Contemporary art
• Danger music
• Experiments in Art and Applied science
• Found object
• Gutai group
• Happening
• Fluxus
• Information art
• Installation art
• Intermedia
• Land fine art
• Modern art
• Moscow Conceptualists
• Neo-conceptual art
• Olfactory art
• Internet art
• Postmodern fine art
• Relational fine art
• Generative Art
• Street installation
• Something Else Printing
• Systems art
• Video fine art
• Visual arts
• ART/MEDIA

Individual works [edit]

• Fountain
• One and Three Chairs
• The Bride Stripped Bare By Her Bachelors, Even
• Mirror Slice
• Hush-hush Painting
• Victorine

References [edit]

1. ^ "Wall Drawing 811 – Sol LeWitt". Archived from the original on 2 March 2007.
2. ^ Sol LeWitt "Paragraphs on Conceptual Art", Artforum, June 1967.
3. ^ Godrey, Tony (1988). Conceptual Fine art (Art & Ideas). London: Phaidon Press Ltd. ISBN978-0-7148-3388-0.
4. ^ Joseph Kosuth, Art Later on Philosophy (1969). Reprinted in Peter Osborne, Conceptual Art: Themes and Movements, Phaidon, London, 2002. p. 232
5. ^ Art & Language, Art-Language The Journal of conceptual art: Introduction (1969). Reprinted in Osborne (2002) p. 230
6. ^ Ian Fire, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.thou. "The event of much of the 'conceptual' work of the by two years has been to advisedly clear the air of objects."
7. ^ "Turner Prize history: Conceptual art". Tate Gallery. tate.org.uk. Accessed August 8, 2006
8. ^ Tony Godfrey, Conceptual Art, London: 1998. p. 28
9. ^ "Essay: Concept Art". www.henryflynt.org.
10. ^ "The Crystallization of Concept Fine art in 1961". world wide web.henryflynt.org.
11. ^ Henry Flynt, "Concept-Art (1962)", Translated and introduced by Nicolas Feuillie, Les presses du réel, Avant-gardes, Dijon.
12. ^ "Conceptual Art (Conceptualism) – Artlex". Archived from the original on May 16, 2013.
13. ^ Rorimer, p. eleven
14. ^ Lucy Lippard & John Chandler, "The Dematerialization of Art", Art International 12:2, February 1968. Reprinted in Osborne (2002), p. 218
15. ^ Rorimer, p. 12
16. ^ "Ed Ruscha and Photography". The Art Found of Chicago. 1 March – 1 June 2008. Archived from the original on 31 May 2010. Retrieved 14 September 2010.
17. ^ Anne Rorimer, New Fine art in the Sixties and Seventies, Thames & Hudson, 2001; p. 71
18. ^ ^{a b} Rorimer, p. 76
19. ^ Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28
20. ^ Osborne (2002), p. 28
21. ^ http://www.fondazioneratti.org/mat/mostre/Gimmicky%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf ^{[ dead link ]}
22. ^ Conceptual Art – "In 1967, Sol LeWitt published Paragraphs on Conceptual Art (considered by many to be the motility'south manifesto) [...]."
23. ^ "Conceptual Art – The Art Story". theartstory.org. The Art Story Foundation. Retrieved 25 September 2014.
24. ^ Atkins, Robert: Artspeak, 1990, Abbeville Press, ISBN 1-55859-010-ii
25. ^ Hensher, Philip (2008-02-20). "The loo that shook the world: Duchamp, Man Ray, Picabi". London: The Independent (Extra). pp. 2–v.
26. ^ Judovitz: Unpacking Duchamp, 92–94.
27. ^ [one] Marcel Duchamp.net, retrieved Dec 9, 2009
28. ^ Marcel Duchamp, Belle haleine – Eau de voilette, Drove Yves Saint Laurent et Pierre Bergé, Christie'due south Paris, Lot 37. 23 – 25 Feb 2009
29. ^ Kostelanetz, Richard (2003). Conversing with John Cage. New York: Routledge. ISBN 0-415-93792-2. pp. 69–71, 86, 105, 198, 218, 231.
30. ^ Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988
31. ^ Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Fine art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) Academy of California Press 2012, p. 333
32. ^ ChewingTheSun. "Vorschau – Museum Morsbroich".
33. ^ ^{a b} Byrt, Anthony. "Make, new". Frieze Mag . Retrieved 28 November 2012.
34. ^ Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, ISBN 978-3-86678-700-1.
35. ^ Tate (2016-04-22), Art & Language – Conceptual Art, Mirrors and Selfies | TateShots , retrieved 2017-07-29
36. ^ "Air-Conditioning Testify / Air Bear witness / Frameworks 1966–67". www.macba.cat. Archived from the original on 2017-07-29. Retrieved 2017-07-29 .
37. ^ "Art & LANGUAGE UNCOMPLETED". www.macba.cat . Retrieved 2017-07-29 .
38. ^ ^{a b} "BBC – Coventry and Warwickshire Civilisation – Art and Linguistic communication". www.bbc.co.britain . Retrieved 2017-07-29 .
39. ^ Terroni, Christelle (seven Oct 2011). "The Rise and Autumn of Alternative Spaces". Books&ideas.net . Retrieved 28 Nov 2012.
40. ^ Harrison, Charles (2001). Conceptual art and painting Further essays on Fine art & Linguistic communication. Cambridge: The MIT Press. p. 58. ISBN0-262-58240-6.
41. ^ Brenson, Michael (19 Oct 1990). "Review/Art; In the Arena of the Mind, at the Whitney". The New York Times.
42. ^ Smith, Roberta. "Art in review: Ronald Jones Metro Pictures", The New York Times, 27 Dec 1991. Retrieved 8 July 2008.
43. ^ Sandra Solimano, ed. (2005). Maurizio Bolognini. Programmed Machines 1990–2005. Genoa: Villa Croce Museum of Gimmicky Art, Neos. ISBN88-87262-47-0.
44. ^ "BBC News – ARTS – Creed lights up Turner prize". 10 Dec 2001.
45. ^ "Third Coast Audio Festival Behind the Scenes with damali ayo".
46. ^ "The Times & The Sunday Times". www.thetimes.co.u.k..

Farther reading [edit]

Books

• Charles Harrison, Essays on Fine art & Language, MIT Press, 1991
• Charles Harrison, Conceptual Art and Painting: Further essays on Art & Language, MIT press, 2001
• Ermanno Migliorini, Conceptual Art, Florence: 1971
• Klaus Honnef, Concept Fine art, Cologne: Phaidon, 1972
• Ursula Meyer, ed., Conceptual Art, New York: Dutton, 1972
• Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972. 1973. Berkeley: University of California Press, 1997.
• Gregory Battcock, ed., Idea Fine art: A Critical Anthology, New York: Eastward. P. Dutton, 1973
• Jürgen Schilling, Aktionskunst. Identität von Kunst und Leben? Verlag C.J. Bucher, 1978, ISBN 3-7658-0266-2.
• Juan Vicente Aliaga & José Miguel Thou. Cortés, ed., Arte Conceptual Revisado/Conceptual Art Revisited, Valencia: Universidad Politécnica de Valencia, 1990
• Thomas Dreher, Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976 (Thesis Ludwig-Maximilians-Universität, München), Frankfurt am Main: Peter Lang, 1992
• Robert C. Morgan, Conceptual Art: An American Perspective, Jefferson, NC/London: McFarland, 1994
• Robert C. Morgan, Art into Ideas: Essays on Conceptual Art, Cambridge et al.: Cambridge Academy Printing, 1996
• Charles Harrison and Paul Woods, Art in Theory: 1900–1990, Blackwell Publishing, 1993
• Tony Godfrey, Conceptual Art, London: 1998
• Alexander Alberro & Blake Stimson, ed., Conceptual Art: A Critical Anthology, Cambridge, Massachusetts, London: MIT Press, 1999
• Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London: Reaktion, 1999
• Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001
• Peter Osborne, Conceptual Art (Themes and Movements), Phaidon, 2002 (Come across also the external links for Robert Smithson)
• Alexander Alberro. Conceptual art and the politics of publicity. MIT Press, 2003.
• Michael Corris, ed., Conceptual Art: Theory, Do, Myth, Cambridge, England: Cambridge Academy Press, 2004
• Daniel Marzona, Conceptual Art, Cologne: Taschen, 2005
• John Roberts, The Intangibilities of Grade: Skill and Deskilling in Art After the Readymade, London and New York: Verso Books, 2007
• Peter Goldie and Elisabeth Schellekens, Who'south afraid of conceptual art?, Abingdon [etc.] : Routledge, 2010. – VIII, 152 p. : sick. ; xx cm ISBN 0-415-42281-7 hbk : ISBN 978-0-415-42281-9 hbk : ISBN 0-415-42282-5 pbk : ISBN 978-0-415-42282-6 pbk

Essays

• Andrea Sauchelli, 'The Acquaintance Principle, Aesthetic Judgments, and Conceptual Art, Journal of Aesthetic Instruction (forthcoming, 2016).

Exhibition catalogues

• Diagram-boxes and Counterpart Structures, exh.true cat. London: Molton Gallery, 1963.
• January 5–31, 1969, exh.cat., New York: Seth Siegelaub, 1969
• When Attitudes Become Form, exh.true cat., Bern: Kunsthalle Bern, 1969
• 557,087, exh.cat., Seattle: Seattle Art Museum, 1969
• Konzeption/Conception, exh.cat., Leverkusen: Städt. Museum Leverkusen et al., 1969
• Conceptual Art and Conceptual Aspects, exh.cat., New York: New York Cultural Center, 1970
• Art in the Mind, exh.true cat., Oberlin, Ohio: Allen Memorial Fine art Museum, 1970
• Information, exh.true cat., New York: Museum of Modernistic Art, 1970
• Software, exh.cat., New York: Jewish Museum, 1970
• Situation Concepts, exh.true cat., Innsbruck: Forum für aktuelle Kunst, 1971
• Fine art conceptuel I, exh.cat., Bordeaux: capcMusée d'art contemporain de Bordeaux, 1988
• Fifty'art conceptuel, exh.true cat., Paris: ARC–Musée d'Art Moderne de la Ville de Paris, 1989
• Christian Schlatter, ed., Fine art Conceptuel Formes Conceptuelles/Conceptual Art Conceptual Forms, exh.cat., Paris: Galerie 1900–2000 and Galerie de Poche, 1990
• Reconsidering the Object of Art: 1965–1975, exh.true cat., Los Angeles: Museum of Contemporary Art, 1995
• Global Conceptualism: Points of Origin, 1950s–1980s, exh.true cat., New York: Queens Museum of Art, 1999
• Open Systems: Rethinking Art c. 1970, exh.cat., London: Tate Mod, 2005
• Art & Linguistic communication Uncompleted: The Philippe Méaille Drove, MACBA Press, 2014
• Lite Years: Conceptual Art and the Photograph 1964–1977, exh.cat., Chicago: Fine art Institute of Chicago, 2011

External links [edit]

delunafroving.blogspot.com

Source: https://en.wikipedia.org/wiki/Conceptual_art

Share this post