What Is the Difference Between the Conceptual Approach to Art History and the Perceptual Approach

April 25, 2022 Post a Comment

Art movement

Conceptual art, also referred to as conceptualism, is art in which the concept(southward) or idea(s) 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 simply by following a set of written instructions.^[1] This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the starting time to appear in print:

In conceptual art the idea or concept is the most important attribute of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a automobile that makes the art.^[2]

Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of art,^[3] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Art after Philosophy (1969). The notion that fine art should examine its own nature was already a potent aspect of the influential fine art critic Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively linguistic communication-based art in the 1960s, however, conceptual artists such as Art & Language, Joseph Kosuth (who became the American editor of Art-Linguistic communication), and Lawrence Weiner began a far more radical interrogation of fine art than was previously possible (see below). 1 of the first and nearly important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.^[four] ^[5] ^[6]

Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the United kingdom of great britain and northern ireland, "conceptual art" came to denote all contemporary fine art that does non practice the traditional skills of painting and sculpture.^[7] One of the reasons why the term "conceptual fine art" has come up to exist associated with various contemporary practices far removed from its original aims and forms lies in the trouble of defining the term itself. As the creative person Mel Bochner suggested equally early equally 1970, in explaining why he does non similar the epithet "conceptual", it is not e'er entirely articulate what "concept" refers to, and it runs the risk of existence confused with "intention". Thus, in describing or defining a work of art as conceptual information technology is important not to misfile what is referred to as "conceptual" with an creative person's "intention".

Precursors [edit]

The French creative person Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for example. The most 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 Independent Artists in New York (which rejected information technology).^[eight] The artistic tradition does non come across a commonplace object (such as a urinal) as fine art considering it is non made by an creative person or with any intention of being art, nor is it unique or hand-crafted. Duchamp'south relevance and theoretical importance for hereafter "conceptualists" was later on best-selling past US artist Joseph Kosuth in his 1969 essay, Art after Philosophy, when he wrote: "All art (after Duchamp) is conceptual (in nature) because art merely exists conceptually".

In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a piece of work of art which, by its very nature, could never exist created in reality, but which could notwithstanding 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 not really exist except conceptually. The current incarnation (As of 2013^[update]) of the Isouian movement, Excoördism, self-defines every bit the fine art of the infinitely big and the infinitely small.

Origins [edit]

In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an commodity bearing the aforementioned proper name which appeared in the proto-Fluxus publication An Anthology of Adventure Operations.^[9] Flynt'south concept art, he maintained, devolved from his notion of "cognitive nihilism", in which paradoxes in logic are shown to evacuate concepts of substance. Cartoon on the syntax of logic and mathematics, concept art was meant jointly to supersede mathematics and the formalistic music then current in serious fine art music circles.^[10] Therefore, Flynt maintained, to merit the label concept art, a piece of 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 art".^[eleven]

The term assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Art-Linguistic communication: The Journal of Conceptual Fine art in 1969, into the artist'southward social, philosophical, and psychological status. Past the mid-1970s they had produced publications, indices, performances, texts and paintings to this cease. In 1970 Conceptual 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 art [edit]

Conceptual art emerged as a move during the 1960s – in function as a reaction against formalism equally and then articulated by the influential New York art critic Clement 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 job of painting, for instance, was to define precisely what kind of object a painting truly is: what makes it a painting and cypher else. As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things every bit figuration, iii-D perspective illusion and references to external subject matter were all found to be inapplicable to the essence of painting, and ought to be removed.^[xiii]

Some accept argued that conceptual art continued this "dematerialization" of art past removing the need for objects altogether,^[14] while others, including many of the artists themselves, saw conceptual art every bit a radical break with Greenberg's kind of formalist Modernism. Later artists continued to share a preference for fine art to be self-disquisitional, as well as a distaste for illusion. Nonetheless, past the end of the 1960s it was certainly clear that Greenberg'due south stipulations for art to go on within the confines of each medium and to exclude external subject matter no longer held traction.^[xv] Conceptual art also reacted confronting the commodification of fine art; it attempted a subversion of the gallery or museum equally the location and determiner of art, and the art marketplace as the owner and distributor of art. Lawrence Weiner said: "Once you know about a piece of work of mine you ain it. There'due south no way I can climb inside somebody's caput and remove information technology." Many conceptual artists' work can therefore just exist known almost through documentation which is manifested by it, e.thousand., photographs, written texts or displayed objects, which some might argue are not in and of themselves the art. It is sometimes (as in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions describing a work, just stopping brusk of actually making information technology—emphasising the idea as more than of import than the artifact. This reveals an explicit preference for the "fine art" side of the ostensible dichotomy between art and craft, where art, unlike craft, takes identify within and engages historical discourse: for case, Ono's "written instructions" make more sense alongside other conceptual art of the time.

Lawrence Weiner. Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Fine art Middle, Minneapolis, 2005.

Linguistic communication and/every bit art [edit]

Language was a central concern for the offset wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in fine art was in no way novel, just in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[sixteen] Joseph Kosuth, Robert Barry, and Art & Language begin to produce fine art by exclusively linguistic means. Where previously language was presented as 1 kind of visual element alongside others, and subordinate to an overarching composition (east.g. Constructed Cubism), the conceptual artists used linguistic communication in place of castor and canvas, and allowed it to signify in its own right.^[17] Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of private works derives solely from the import of the language employed, while presentational ways and contextual placement play crucial, nevertheless carve up, roles."^[18]

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 turn to linguistic theories of meaning in both Anglo-American analytic philosophy, and structuralist and mail structuralist Continental philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took.^[19] Osborne also notes that the early on conceptualists were the first generation of artists to consummate degree-based university training in art.^[xx] Osborne later 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. It is a merits made at the level of the ontology of the work of art (rather than say at the descriptive level of manner or motility).

The American art historian Edward A. Shanken points to the instance of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual fine art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his employ of cybernetics was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication folio (to Sol LeWitt) of Lucy R. Lippard'southward seminal Half dozen Years: The Dematerialization of the Art Object from 1966 to 1972, Ascott's anticipation of and contribution to the germination of conceptual art in Britain has received scant recognition, mayhap (and ironically) because his piece of work was likewise closely allied with fine art-and-technology. Another vital intersection was explored in Ascott'due south use of the thesaurus in 1963 telematic connections:: timeline, which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept would be taken upwardly in Joseph Kosuth'southward 2nd Investigation, Suggestion 1 (1968) and Mel Ramsden'south Elements of an Incomplete Map (1968).

Conceptual art and creative skill [edit]

Past adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested past formal invention and the treatment of materials.^[18]

An important difference between conceptual art and more "traditional" forms of art-making goes to the question of artistic skill. Although skill in the treatment of traditional media ofttimes plays little function in conceptual fine art, it is difficult to debate that no skill is required to make conceptual works, or that skill is always absent from them. John Baldessari, for instance, has presented realist pictures that he commissioned professional person sign-writers to paint; and many conceptual performance artists (e.one thousand. Stelarc, Marina Abramović) are technically accomplished performers and skilled manipulators of their own bodies. It is thus not and then much an absence of skill or hostility toward tradition that defines conceptual fine art as an evident disregard for conventional, modern notions of authorial presence and of individual artistic expression.^{[ citation needed ]}

Contemporary influence [edit]

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

Contemporary artists have taken up many of the concerns of the conceptual art movement, while they may or may non term themselves "conceptual artists". Ideas such equally anti-commodification, social and/or political critique, and ideas/information as medium continue to be aspects of contemporary fine art, especially among artists working with installation art, performance fine 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 bicycle mounted by its fork on a painted wooden stool. The first readymade, even though he did not accept the idea for readymades until two years later. The original was lost. Besides, recognized as the first kinetic sculpture.^[24]
1914 : Pharmacy (Pharmacie) by Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with blank copse and a winding stream to which he added two circles, red and green.
1914 : Canteen Rack (also chosen Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) past Marcel Duchamp. Readymade. A galvanized iron canteen drying rack that Duchamp bought equally an "already made" sculpture, but information technology gathered dust in the corner of his Paris studio. Two years later in 1916, in correspondence from New York with his sis, Suzanne Duchamp in French republic, he expresses a want to brand it a readymade. Suzanne, looking afterward his Paris studio, has already disposed of information technology.
1915 : In Advance of the Broken Arm (En prévision du bras cassé) by Marcel Duchamp. Readymade. Snowfall shovel on which Duchamp carefully painted its title. The kickoff piece the artist officially chosen a "readymade".
1915 : Pulled at four pins by Marcel Duchamp. Readymade. An unpainted chimney ventilator that turns in the wind. Duchamp liked that the literal translation meant aught in English and had no relation to the object.
1916 : With Hidden Noise (A bruit cloak-and-dagger) by Marcel Duchamp. Assisted readymade. A ball of twine between two brass plates, joined past four screws. An unknown object has been placed in the brawl of twine by Duchamp's friend, Walter Arensberg.
1916 : Comb (Peigne) by Marcel Duchamp. Readymade. Steel canis familiaris grooming comb inscribed along the edge.
1917 : Traveller's Folding Particular (...pliant,... de voyage) past Marcel Duchamp. Readymade. Underwood Typewriter comprehend.
1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An altered Sapolin paint advertisement.
1917 : Fountain past Marcel Duchamp, described in an commodity in The Independent equally the invention of conceptual art. It is also an early example of an Institutional Critique^[25]
1917 : 'Trap (Trébuchet) past Marcel Duchamp. Readymade. Wood and metal coatrack fastened to flooring.
1917 : Hat Rack (Porte-chapeaux), c. 1917, by Marcel Duchamp. Readymade. A wooden hatrack.^[26]
1919 : L.H.O.O.Q. past Marcel Duchamp. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci's Mona Lisa on which he drew a goatee and moustache titled with a coarse pun.^[27]
1919 : Unhappy readymade, by Marcel Duchamp. Assisted readymade. Duchamp instructed his sister Suzanne to hang a geometry textbook from the balcony of her Paris flat. Suzanne carried out the instructions and painted a picture of the result.
1919 : fifty cc of Paris Air (50 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 City 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 Not Sneeze, Rose Sélavy? past 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 by Marcel Duchamp. Assisted readymade. An altered perfume bottle in the original box.^[28]
1921 : The Brawl at Austerlitz by Marcel Duchamp. Readymade. Like Fresh Widow, made by a carpenter according to Duchamp's specifications.
1923 : Wanted, $2,000 Reward by Marcel Duchamp. Rectified readymade. Photographic collage on affiche.
1952 : The premiere of American experimental composer John Cage's work, 4′33″, a three-movement limerick, performed past pianist David Tudor on August 29, 1952, in Maverick Concert Hall, Woodstock, New York, as function of a recital of gimmicky piano music.^[29] It is commonly perceived as "iv minutes thirty-3 seconds of silence".
1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. It raised many questions about the fundamental nature of fine art, challenging the viewer to consider whether erasing some other artist'due south piece of work could be a creative act, too as whether the work was only "art" because the famous Rauschenberg had done it.
1955 : Rhea Sue Sanders creates her first text pieces of the serial pièces de complices, combining visual art with verse and philosophy, and introducing the concept of complicity: the viewer must accomplish the fine art in her/his imagination.^[30]
1956 : Isidore Isou introduces the concept of minute fine art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics).
1957: Yves Klein, Aerostatic Sculpture (Paris), composed of 1001 bluish balloons released into the sky from Galerie Iris Clert to promote his Suggestion Monochrome; Bluish Epoch exhibition. Klein also exhibited One Minute Fire Painting, which was a blue panel into which 16 firecrackers were gear up. For his adjacent major exhibition, The Void in 1958, Klein declared that his paintings were now invisible – and to prove information technology he exhibited an empty room.
1958: George Brecht invents the Event Score ^[31] which would get a central feature of Fluxus. Brecht, Dick Higgins, Allan Kaprow, Al Hansen, Jackson MacLow and others studied with John Cage betwixt 1958 and 1959 at the New Schoolhouse leading directly to the creation of Happenings, Fluxus and Henry Flynt's concept art. Event Scores are simple instructions to complete everyday tasks which tin 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 first Happening in Europe.^[32]
1960: Yves Klein's action called A Bound Into The Void, in which he attempts to fly by leaping out of a window. He stated: "The painter has just to create one masterpiece, himself, constantly."
1960: The creative person Stanley Brouwn declares that all the shoe shops in Amsterdam constitute an exhibition of his work.
1961: Wolf Vostell Cityrama, in Cologne – the offset Happening in Frg.
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 Creative person'southward Shit, tins purportedly containing his own feces (although since the piece of work would be destroyed if opened, no ane has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own jiff (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to exist 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 amongst the designated "artworks".
1962: Artist Barrie Bates rebrands himself equally Billy Apple, erasing his original identity to proceed his exploration of everyday life and commerce as fine art. By this phase, many of his works are made by third parties.^[33]
1962: Christo'south Iron Drapery work. This consists of a barricade of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was not the barricade itself but 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 ain "pictorial sensitivity" (any that was – he did not ascertain it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the aureate foliage in render for a certificate. Since Klein'due south sensitivity was immaterial, the purchaser was so required to burn the certificate whilst Klein threw one-half the golden foliage into the Seine. (There were seven purchasers.)
1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet every bit his artwork.
1962: Alberto Greco began his Vivo Dito or Live Art serial, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attention to the art in everyday life, thereby asserting that art was really a procedure 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 collection of Result-Scores, H2o Yam, is published every bit the beginning Fluxkit past 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'due south commodity Concept Art is published in An Anthology of Chance Operations; a collection of artworks and concepts by artists and musicians that was published by Jackson Mac Low and La Monte Immature (ed.). An Anthology of Risk Operations documented the evolution of Dick Higgins's vision of intermedia art in the context of the ideas of John Muzzle, and became an early on pre-Fluxus masterpiece. Flynt's "concept art" devolved from his thought of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics.
1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings, an instance of heuristic art, or a series of instructions for how to obtain an aesthetic experience.
1965: Art & Language founder Michael Baldwin's Mirror Slice. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and Clement Greenberg'southward theory.^[35]
1965: A complex conceptual art piece past John Latham called Still and Chew. He invites art students to protestation confronting the values of Clement Greenberg's Art and Civilization, much praised and taught at Saint Martin's School of Art in London, where Latham taught function-fourth dimension. Pages of Greenberg'south book (borrowed from the college library) are chewed by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his office-time position.
1965: with Show Five, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual art in the netherlands. In the testify, diverse air doors are placed where people tin can walk through them. People have the sensory feel of warmth, air. 3 invisible air doors, which arise as currents of cold and warm are diddled into the room, are indicated in the infinite with bundles of arrows and lines. The articulation of the space that arises is the outcome of invisible processes which influence the comport of persons in that space, and who are included in the organization as co-performers.
Joseph Kosuth dates the concept of One and 3 Chairs to the year 1965. The presentation of the piece of work consists of a chair, its photo, and an enlargement of a definition of the give-and-take "chair". Kosuth chose the definition from a dictionary. Four versions with different definitions are known.
1966: Conceived in 1966 The Air-conditioning Prove of Art & Linguistic communication is published as an commodity in 1967 in the November issue of Arts Magazine.^[36]
1966: Northward.Due east. Affair Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Identify, the contents of a four-room apartment wrapped in plastic bags. The same year they registered every bit a corporation and afterwards organized their practice along corporate models, 1 of the commencement international examples of the "artful of administration".
1967: Mel Ramsden's first 100% Abstract Paintings. The painting shows a listing of chemic components that constitutes the substance of the painting.^[37]
1967: Sol LeWitt'southward Paragraphs on Conceptual Art were published past the American art journal Artforum. The Paragraphs mark the progression from Minimal to Conceptual Art.
1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Linguistic communication.^[38]
1968: Lawrence Weiner relinquishes the physical making of his piece of work and formulates his "Announcement of Intent", one of the most important conceptual art statements post-obit LeWitt's "Paragraphs on Conceptual Art". The declaration, which underscores his subsequent exercise, reads: "one. The artist may construct the piece. ii. The slice may be fabricated. 3. The piece need not be built. Each existence equal and consistent with the intent of the creative person the decision equally to condition rests with the receiver upon the occasion of receivership."
Friedrich Heubach launches the mag Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. Information technology originally showed a Fluxus influence, but later moved toward conceptual art.
1969: The beginning generation of New York alternative exhibition spaces are established, including Baton Apple'southward APPLE, Robert Newman's Gain Basis, where Vito Acconci produced many important early works, and 112 Greene Street.^[33] ^[39]
1969: Robert Barry's Telepathic Slice at Simon Fraser University, Vancouver, of which he said "During the exhibition I volition endeavour to communicate telepathically a work of art, the nature of which is a serial of thoughts that are not applicable to language or image."
1969: The showtime result of Art-Language: The Periodical of conceptual art is published in May, edited past Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Fine art & Language are the editors of this kickoff number, and past the second 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 journal Studio International publishes Joseph Kosuth´s article "Art after Philosophy" in three parts (October–December). It became the well-nigh discussed article on conceptual art.
1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Language.^[38]
1970: Painter John Baldessari exhibits a moving picture in which he sets a serial of brainy statements past Sol LeWitt on the subject of conceptual art to popular tunes like "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 downwards 'i authentic secret'. The resulting 1800 documents are compiled into a book which, past some accounts, makes for very repetitive reading as most secrets are similar.
1971: Hans Haacke's Real Fourth dimension Social Organisation. This piece of systems art detailed the real estate holdings of the 3rd largest landowners in New York City. The properties, generally in Harlem and the Lower East Side, were decrepit and poorly maintained, and represented the largest concentration of real manor in those areas under the command of a single group. The captions gave diverse financial details well-nigh the buildings, including contempo sales between companies owned or controlled by the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the work constituted "an alien substance that had entered the art museum organism". In that location is no evidence to propose that the trustees of the Guggenheim were linked financially to the family which was the subject of the work.
1972: The Art & Language Institute exhibits Index 01 at the Documenta v, an installation indexing text-works by Fine art & Language and text-works from Fine art-Language.
1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Republic of colombia) his piece of work: Aquinocabeelarte (Art does not fit here), where each of the letters is a split poster, and under each letter is written the name of some victim of country repression.
1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to make full it with their ain works of art.
General Idea launch File mag in Toronto. The magazine functioned as something of an extended, collaborative artwork.
1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for nature to create art.
1974: Cadillac Ranch near Amarillo, Texas.
1975–76: Iii problems of the journal The Fox were published by Fine art & Linguistic communication in New York. The editor was Joseph Kosuth. The Fox became an important platform for the American members of Art & Language. Karl Beveridge, Ian Fire, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of gimmicky art. These articles exemplify the development of an institutional critique within the inner circle of conceptual art. The criticism of the art world integrates social, political and economic reasons.
1975–77 Orshi Drozdik'southward Individual Mythology performance, photography and offsetprint series and her theory of ImageBank in Budapest.
1976: facing internal issues, members of Art & Language split. The destiny of the name Art & Linguistic communication remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
1977: Walter De Maria's Vertical Earth Kilometer in Kassel, Germany. This was a i kilometer brass rod which was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this piece of work exists mostly in the viewer'southward mind.
1982: The opera Victorine by Art & Language was to be performed in the city of Kassel for documenta 7 and shown alongside Art & Language Studio at 3 Wesley Place Painted by Actors, simply the performance was cancelled.^[forty]
1986: Art & Language are nominated for the Turner Prize.
1989: Christopher Williams' Angola to Vietnam is first exhibited. The piece of work consists of a series of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen co-ordinate to a list of the xxx-half dozen countries in which political disappearances were known to have taken place during the year 1985.
1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Fine 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 adjacent year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Heed 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 advertizing infinitum to generate inexhaustible flows of random images which nobody would run across.^[43]
1993: Matthieu Laurette established his creative nascency certificate by taking office in a French TV game chosen Tournez manège (The Dating Game) where the female 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 evidence on TV from their homes, turning his staging of the artist into a performed reality.
1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act every bit a second audition to the brandish of her diary of food.
1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, claret-stained knickers, bottles and her bedchamber 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 get on and off.^[44]
2003: damali ayo exhibits at the Heart of Gimmicky Art, Seattle, WA Flesh Tone #i: Skinned, a collaborative self-portrait where she asked paint mixers from local hardware stores to create house pigment to lucifer various parts of her body, while recording the interactions.^[45]
2004: Andrea Fraser's video Untitled, a certificate of her sexual encounter in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the run across) 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-page transcript of an interview with a collector in which the majority 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 down the Rhine and turned back into a shed again.^[46]
2005: Maurizio Nannucci creates the large neon installation All Art Has Been Gimmicky 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 iii-step sculpture features a poem past Scottish poet Ian Hamilton Finlay (1924–2006) with just two words: all solitary.

Notable conceptual artists [edit]

Kevin Abosch (built-in 1969)
Vito Acconci (1940–2017)
Bas Jan Ader (1942–1975)
Vikky Alexander (born 1959)
Francis Alÿs (born 1959)
Keith Arnatt (1930–2008)
Fine art & Language
Roy Ascott (built-in 1934)
Marina Abramović (born 1946)
Baton Apple (born 1935)
Shusaku Arakawa (1936–2010)
Christopher D'Arcangelo (1955–1979)
Michael Asher (1943–2012)
Mireille Astore (born 1961)
damali ayo (born 1972)
Abel Azcona (built-in 1988)
John Baldessari (1931–2020)
Adina Bar-On (built-in 1951)
NatHalie Braun Barends
Artur Barrio (built-in 1945)
Robert Barry (born 1936)
Lothar Baumgarten (1944–2018)
Joseph Beuys (1921–1986)
Adolf Bierbrauer (1915–2012)
Marker Bloch (born 1956)
Mel Bochner (built-in 1940)
Marinus Boezem (built-in 1934)
Maurizio Bolognini (built-in 1952)
Allan Bridge (1945–1995)
Marcel Broodthaers (1924–1976)
Chris Burden (1946–2015)
María Teresa Burga Ruiz (1935–2021)
Daniel Buren (born 1938)
Victor Burgin (built-in 1941)
Donald Burgy (built-in 1937)
Maris Bustamante (born 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 (born 1968)
Cory Danziger (born 1977)
Jack Daws (born 1970)
Jeremy Deller (born 1966)
Agnes Denes (built-in 1938)
Jan 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 (born 1940)
Andrea Fraser (built-in 1965)
Jens Galschiøt (born 1954)
Kendell Geers
Thierry Geoffroy (born 1961)
Jochen Gerz (born 1940)
Gilbert and George Gilbert (born 1943) George (born 1942)
Manav Gupta (born 1967)
Felix Gonzalez-Torres (1957–1996)
Allan Graham (1943–2019)
Dan Graham (1942-2022)
Hans Haacke (born 1936)
Iris Häussler (born 1962)
Irma Hünerfauth (1907–1998)
Oliver Herring (born 1964)
Andreas Heusser (born 1976)
Jenny Holzer (born 1950)
Greer Honeywill (built-in 1945)
Zhang Huan (built-in 1965)
Douglas Huebler (1924–1997)
General Idea
David Republic of ireland (1930–2009)
Alfredo Jaar (born 1956)
Ray Johnson (1927–1995)
Ronald Jones (1952–2019)
Ilya Kabakov (born 1933)
On Kawara (1932–2014)
Jonathon Keats (born 1971)
Mary Kelly (built-in 1941)
Yves Klein (1928–1962)
John Knight (artist) (born 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 (built-in 1979)
Richard Long (born 1945)
Mark Lombardi (1951–2000)
George Maciunas (1931–1978)
Teresa Margolles (built-in 1963)
María Evelia Marmolejo (built-in 1958)
Piero Manzoni (1933–1963)
Tom Marioni (born 1937)
Phyllis Mark (1921–2004)
Danny Matthys (born 1947)
Allan McCollum (built-in 1944)
Cildo Meireles (built-in 1948)
Ana Mendieta (born 1985)
Marta Minujín (born 1943)
Linda Montano (built-in 1942)
Robert Morris (creative person) (1931–2018)
N.E. Thing Co. Ltd. (Iain & Ingrid Baxter) Iain (born 1936) Ingrid (born 1938)
Maurizio Nannucci (born 1939)
Bruce Nauman (built-in 1941)
Olaf Nicolai (built-in 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 (built-in 1941)
Dmitri Prigov (1940–2007)
Guillem Ramos-Poquí (born 1944)
Charles Recher (1950–2017)
Jim Ricks (born 1973)
Lotty Rosenfeld (1943–2020)
Martha Rosler (born 1943)
Allen Ruppersberg (born 1944)
Santiago Sierra (built-in 1966)
Bodo Sperling (born 1952)
Stelarc (born 1946)
Grand. Vänçi Stirnemann (built-in 1951)
Hiroshi Sugimoto (born 1948)
Stephanie Syjuco (born 1974)
Hakan Topal (born 1972)
Endre Tot (born 1937)
David Tremlett (born 1945)
Tucumán arde (1968)
Jacek Tylicki (born 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 (born 1946)
Christopher Williams (born 1956)
xurban collective
Industry of the Ordinary
Arne Quinze (built-in 1971)

References [edit]

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

Farther reading [edit]

Books

Charles Harrison, Essays on Art & Language, MIT Press, 1991
Charles Harrison, Conceptual Art and Painting: Further essays on Fine art & Language, MIT press, 2001
Ermanno Migliorini, Conceptual Art, Florence: 1971
Klaus Honnef, Concept Art, Cologne: Phaidon, 1972
Ursula Meyer, ed., Conceptual Fine art, New York: Dutton, 1972
Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972. 1973. Berkeley: Academy of California Printing, 1997.
Gregory Battcock, ed., Idea Art: A Disquisitional Anthology, New York: East. P. Dutton, 1973
Jürgen Schilling, Aktionskunst. Identität von Kunst und Leben? Verlag C.J. Bucher, 1978, ISBN 3-7658-0266-ii.
Juan Vicente Aliaga & José Miguel G. Cortés, ed., Arte Conceptual Revisado/Conceptual Fine 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 Principal: Peter Lang, 1992
Robert C. Morgan, Conceptual Art: An American Perspective, Jefferson, NC/London: McFarland, 1994
Robert C. Morgan, Fine art into Ideas: Essays on Conceptual Art, Cambridge et al.: Cambridge University Press, 1996
Charles Harrison and Paul Forest, 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 Fine 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 fine art and the politics of publicity. MIT Press, 2003.
Michael Corris, ed., Conceptual Art: Theory, Practice, Myth, Cambridge, England: Cambridge University Press, 2004
Daniel Marzona, Conceptual Fine art, Cologne: Taschen, 2005
John Roberts, The Intangibilities of Form: Skill and Deskilling in Fine art After the Readymade, London and New York: Verso Books, 2007
Peter Goldie and Elisabeth Schellekens, Who's afraid of conceptual art?, Abingdon [etc.] : Routledge, 2010. – Eight, 152 p. : ill. ; 20 cm ISBN 0-415-42281-7 hbk : ISBN 978-0-415-42281-ix hbk : ISBN 0-415-42282-5 pbk : ISBN 978-0-415-42282-6 pbk

Essays

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

Exhibition catalogues

Diagram-boxes and Analogue Structures, exh.true cat. London: Molton Gallery, 1963.
Jan 5–31, 1969, exh.cat., New York: Seth Siegelaub, 1969
When Attitudes Get Grade, exh.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.true cat., New York: New York Cultural Center, 1970
Fine art in the Mind, exh.true cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970
Data, exh.cat., New York: Museum of Modern Fine art, 1970
Software, exh.cat., New York: Jewish Museum, 1970
Situation Concepts, exh.true cat., Innsbruck: Forum für aktuelle Kunst, 1971
Art conceptuel I, exh.true cat., Bordeaux: capcMusée d'art contemporain de Bordeaux, 1988
L'art conceptuel, exh.true cat., Paris: ARC–Musée d'Art Moderne de la Ville de Paris, 1989
Christian Schlatter, ed., Art Conceptuel Formes Conceptuelles/Conceptual Art Conceptual Forms, exh.true cat., Paris: Galerie 1900–2000 and Galerie de Poche, 1990
Reconsidering the Object of Art: 1965–1975, exh.cat., Los Angeles: Museum of Gimmicky Fine art, 1995
Global Conceptualism: Points of Origin, 1950s–1980s, exh.cat., New York: Queens Museum of Art, 1999
Open Systems: Rethinking Art c. 1970, exh.true cat., London: Tate Modern, 2005
Fine art & Language Uncompleted: The Philippe Méaille Collection, MACBA Printing, 2014
Light Years: Conceptual Art and the Photograph 1964–1977, exh.true cat., Chicago: Art Constitute of Chicago, 2011

External links [edit]

smithexpecten.blogspot.com

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

Smith Expecten