Alexander Alberto and Blake Stimson Conceptual Art a Critical Anthology pdf

Art movement

Conceptual art, likewise referred to every bit conceptualism, is fine art in which the concept(s) or idea(s) involved in the work take precedence over traditional artful, technical, and material concerns. Some works of conceptual art, sometimes chosen installations, may be constructed by anyone simply by following a prepare of written instructions.^[ane] This method was key to American artist Sol LeWitt's definition of conceptual fine art, ane of the first to announced in print:

In conceptual art the idea or concept is the most important aspect of the work. When an creative person uses a conceptual course of fine art, information technology means that all of the planning and decisions are fabricated beforehand and the execution is a perfunctory thing. The idea becomes a machine that makes the art.^[2]

Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual art questions the nature of fine art,^[3] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early on manifesto of conceptual fine art, Art after Philosophy (1969). The notion that art should examine its own nature was already a potent attribute of the influential fine art critic Clement Greenberg'due south 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 Fine art-Linguistic communication), and Lawrence Weiner began a far more radical interrogation of art than was previously possible (see below). One of the first and most important things they questioned was the mutual supposition that the role of the artist was to create special kinds of fabric objects.^[4] ^[five] ^[six]

Through its association with the Immature British Artists and the Turner Prize during the 1990s, in popular usage, peculiarly in the United Kingdom, "conceptual art" came to denote all contemporary art that does not practise the traditional skills of painting and sculpture.^[7] One of the reasons why the term "conceptual art" has come 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 artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not ever entirely clear what "concept" refers to, and it runs the risk of existence dislocated with "intention". Thus, in describing or defining a piece of work of art as conceptual it is important non 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 case. The well-nigh famous of Duchamp's readymades was Fountain (1917), a standard urinal-bowl signed past the artist with the pseudonym "R.Mutt", and submitted for inclusion in the almanac, united nations-juried exhibition of the Society of Independent Artists in New York (which rejected it).^[eight] The artistic tradition does non meet a commonplace object (such as a urinal) every bit art because it is not made by an artist or with whatever intention of beingness art, nor is information technology unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later on best-selling past US creative person Joseph Kosuth in his 1969 essay, Fine art after Philosophy, when he wrote: "All art (after Duchamp) is conceptual (in nature) considering fine art but exists conceptually".

In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, past its very nature, could never be created in reality, but which could nevertheless provide artful rewards by being contemplated intellectually. This concept, also called Art esthapériste (or "space-aesthetics"), derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could not actually be except conceptually. The current incarnation (As of 2013^[update]) of the Isouian move, Excoördism, cocky-defines equally the fine art of the infinitely large and the infinitely small-scale.

Origins [edit]

In 1961, philosopher and artist Henry Flynt coined the term "concept art" in an article begetting the same proper name which appeared in the proto-Fluxus publication An Anthology of Chance Operations.^[ix] Flynt'south concept fine 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 supercede 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 exist a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent from subsequent "conceptual art".^[11]

The term assumed a different meaning when employed by Joseph Kosuth and by the English language Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Art-Language: The Journal of Conceptual Art in 1969, into the artist's social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects, the starting time 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 fine art emerged as a motion during the 1960s – in function every bit a reaction against formalism equally 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 nothing else. As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, 3-D perspective illusion and references to external discipline matter were all found to be extraneous to the essence of painting, and ought to be removed.^[13]

Some have argued that conceptual art continued this "dematerialization" of fine art by removing the demand for objects altogether,^[14] while others, including many of the artists themselves, saw conceptual fine art equally a radical suspension with Greenberg's kind of formalist Modernism. Later artists connected to share a preference for art to be self-critical, equally well as a distaste for illusion. Notwithstanding, past the end of the 1960s information technology was certainly articulate that Greenberg's stipulations for art to go on within the confines of each medium and to exclude external subject thing no longer held traction.^[fifteen] Conceptual art also reacted against the commodification of art; it attempted a subversion of the gallery or museum equally the location and determiner of art, and the art market as the possessor and distributor of art. Lawrence Weiner said: "In one case you know almost a work of mine y'all own it. In that location'due south no way I can climb inside somebody's caput and remove information technology." Many conceptual artists' piece of work can therefore just be known almost through documentation which is manifested by it, east.k., photographs, written texts or displayed objects, which some might argue are not in and of themselves the fine 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 piece of work, but stopping short of actually making it—emphasising the thought every bit more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and craft, where art, dissimilar 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 Present a Semblance of a Whole, The Walker Fine art Center, Minneapolis, 2005.

Language and/as art [edit]

Language was a key concern for the showtime moving ridge of conceptual artists of the 1960s and early on 1970s. Although the utilisation of text in fine art was in no way novel, only in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[16] Joseph Kosuth, Robert Barry, and Fine art & Language begin to produce fine art by exclusively linguistic means. Where previously language was presented as ane kind of visual element aslope others, and subordinate to an overarching composition (east.g. Synthetic Cubism), the conceptual artists used language in place of brush and sail, and allowed it to signify in its own right.^[17] Of Lawrence Weiner'south works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the language employed, while presentational ways and contextual placement play crucial, all the same separate, roles."^[18]

The British philosopher and theorist of conceptual fine art Peter Osborne suggests that amid the many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from the plough to linguistic theories of significant in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental philosophy during the centre of the twentieth century. This linguistic turn "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 university training in art.^[xx] Osborne later made the observation that gimmicky fine 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 fabricated at the level of the ontology of the piece of work of art (rather than say at the descriptive level of style or motion).

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 fine art-historical categories." Ascott, the British creative person almost closely associated with cybernetic art in England, was not included in Cybernetic Serendipity considering his use of cybernetics was primarily conceptual and did not explicitly utilize engineering. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard's seminal Vi Years: The Dematerialization of the Fine art Object from 1966 to 1972, Ascott's anticipation of and contribution to the germination of conceptual art in U.k. has received scant recognition, perhaps (and ironically) considering his piece of work was too closely allied with art-and-engineering. Another vital intersection was explored in Ascott's 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 up in Joseph Kosuth's Second Investigation, Suggestion 1 (1968) and Mel Ramsden's Elements of an Incomplete Map (1968).

Conceptual art and artistic 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 by formal invention and the handling of materials.^[18]

An important difference between conceptual fine art and more "traditional" forms of art-making goes to the question of creative skill. Although skill in the treatment of traditional media oft plays fiddling role in conceptual art, it is hard to contend that no skill is required to make conceptual works, or that skill is always absent-minded from them. John Baldessari, for instance, has presented realist pictures that he deputed professional person sign-writers to paint; and many conceptual performance artists (eastward.g. Stelarc, Marina Abramović) are technically achieved 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 art as an evident disregard for conventional, modern notions of authorial presence and of individual artistic expression.^{[ commendation needed ]}

Gimmicky influence [edit]

Proto-conceptualism has roots in the rising of Modernism with, for example, Manet (1832–1883) and later Marcel Duchamp (1887–1968). The first moving ridge of the "conceptual art" movement 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 after, widely accepted move of conceptual art. Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner accept proven very influential on subsequent artists, and well-known contemporary artists such equally Mike Kelley or Tracey Emin are sometimes labeled^{[ past whom? ]} "2d- or third-generation" conceptualists, or "post-conceptual" artists (the prefix Post- in fine art can frequently be interpreted as "because of").

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

Notable examples [edit]

1913 : Cycle Wheel (Roue de bicyclette) by Marcel Duchamp. Assisted readymade. Bicycle cycle mounted by its fork on a painted wooden stool. The first readymade, even though he did not have the idea for readymades until two years afterwards. The original was lost. Too, recognized as the showtime 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 (likewise called Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) by Marcel Duchamp. Readymade. A galvanized iron bottle drying rack that Duchamp bought every bit an "already made" sculpture, merely it gathered dust in the corner of his Paris studio. Two years later in 1916, in correspondence from New York with his sister, Suzanne Duchamp in France, he expresses a desire to make information technology a readymade. Suzanne, looking after his Paris studio, has already disposed of it.
1915 : In Advance of the Broken Arm (En prévision du bras cassé) by Marcel Duchamp. Readymade. Snow shovel on which Duchamp advisedly painted its title. The first piece the artist officially called 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 cypher in English and had no relation to the object.
1916 : With Hidden Noise (A bruit hugger-mugger) past Marcel Duchamp. Assisted readymade. A brawl of twine between two brass plates, joined past 4 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 preparation comb inscribed along the edge.
1917 : Traveller'south Folding Item (...pliant,... de voyage) by Marcel Duchamp. Readymade. Underwood Typewriter cover.
1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An altered Sapolin paint advertizement.
1917 : Fountain by Marcel Duchamp, described in an article in The Independent as the invention of conceptual fine art. Information technology is too an early instance of an Institutional Critique^[25]
1917 : 'Trap (Trébuchet) by Marcel Duchamp. Readymade. Wood and metallic coatrack attached to floor.
1917 : Hat Rack (Porte-chapeaux), c. 1917, by Marcel Duchamp. Readymade. A wooden hatrack.^[26]
1919 : 50.H.O.O.Q. by Marcel Duchamp. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci'due south 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 sis Suzanne to hang a geometry textbook from the balcony of her Paris apartment. 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) by Marcel Duchamp. Readymade. A glass ampoule containing air from Paris. Duchamp took the ampoule to New York City in 1920 and gave it 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? by Marcel Duchamp. Assisted readymade. Marble cubes in the shape of sugar lumps with a thermometer and cuttle bones in a modest bird muzzle.
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. Similar Fresh Widow, made past a carpenter according to Duchamp's specifications.
1923 : Wanted, $2,000 Reward by Marcel Duchamp. Rectified readymade. Photographic collage on poster.
1952 : The premiere of American experimental composer John Cage'south work, 4′33″, a 3-movement limerick, performed by pianist David Tudor on August 29, 1952, in Bohemian Concert Hall, Woodstock, New York, as part of a recital of contemporary piano music.^[29] Information technology is normally perceived as "4 minutes xxx-three seconds of silence".
1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. Information technology raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing some other artist's work could be a artistic deed, every bit well as whether the work was simply "art" because the famous Rauschenberg had done it.
1955 : Rhea Sue Sanders creates her kickoff text pieces of the series pièces de complices, combining visual art with verse and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.^[xxx]
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; Blueish Epoch exhibition. Klein also exhibited One Infinitesimal Burn down Painting, which was a blue panel into which xvi firecrackers were set. For his next major exhibition, The Void in 1958, Klein declared that his paintings were now invisible – and to show information technology he exhibited an empty room.
1958: George Brecht invents the Event Score ^[31] which would become a central characteristic 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 direct to the creation of Happenings, Fluxus and Henry Flynt'due south concept art. Result Scores are simple instructions to consummate everyday tasks which tin be performed publicly, privately, or not at all.
1958: Wolf Vostell Das Theater ist auf der Straße/The theater is on the street. The commencement Happening in Europe.^[32]
1960: Yves Klein's activity called A Leap Into The Void, in which he attempts to wing by leaping out of a window. He stated: "The painter has only to create one masterpiece, himself, constantly."
1960: The artist Stanley Brouwn declares that all the shoe shops in Amsterdam constitute 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 feces (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) equally Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all fourth dimension 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 as Billy Apple tree, erasing his original identity to go along his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by 3rd 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 not the battlement 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 own "pictorial sensitivity" (whatever that was – he did not ascertain it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to fire the document whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.)
1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet equally his artwork.
1962: Alberto Greco began his Vivo Dito or Alive Art series, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco chosen attending to the fine art in everyday life, thereby asserting that art was actually 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 Issue-Scores, Water Yam, is published as the get-go 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's article Concept Art is published in An Album of Risk Operations; a collection of artworks and concepts by artists and musicians that was published by Jackson Mac Low and La Monte Young (ed.). An Album of Take chances Operations documented the development of Dick Higgins's vision of intermedia art in the context of the ideas of John Muzzle, and became an early pre-Fluxus masterpiece. Flynt'south "concept art" devolved from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics.
1964: Yoko Ono publishes Grapefruit: A Volume of Instructions and Drawings, an example of heuristic fine art, or a series of instructions for how to obtain an aesthetic experience.
1965: Fine art & Language founder Michael Baldwin'southward Mirror Piece. Instead of paintings, the work shows a variable number of mirrors that claiming both the visitor and Clement Greenberg'due south theory.^[35]
1965: A circuitous conceptual art slice by John Latham called However and Chew. He invites fine art students to protest against the values of Clement Greenberg'due south Art and Culture, much praised and taught at Saint Martin's School of Art in London, where Latham taught part-time. Pages of Greenberg's 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 so fired from his part-fourth dimension position.
1965: with Show 5, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual art in holland. In the show, various air doors are placed where people can walk through them. People take the sensory experience of warmth, air. 3 invisible air doors, which arise every bit currents of cold and warm are blown into the room, are indicated in the space with bundles of arrows and lines. The articulation of the space that arises is the issue of invisible processes which influence the acquit of persons in that space, and who are included in the system equally co-performers.
Joseph Kosuth dates the concept of One and Three Chairs to the year 1965. The presentation of the work consists of a chair, its photo, and an enlargement of a definition of the word "chair". Kosuth chose the definition from a lexicon. Iv versions with different definitions are known.
1966: Conceived in 1966 The Air Conditioning Evidence of Art & Language 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 iv-room apartment wrapped in plastic numberless. The aforementioned year they registered as a corporation and subsequently organized their practice forth corporate models, one of the first international examples of the "aesthetic of administration".
1967: Mel Ramsden'due south start 100% Abstruse Paintings. The painting shows a list of chemic components that constitutes the substance of the painting.^[37]
1967: Sol LeWitt's Paragraphs on Conceptual Fine art were published by the American art periodical Artforum. The Paragraphs marker the progression from Minimal to Conceptual Art.
1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell constitute Fine art & Language.^[38]
1968: Lawrence Weiner relinquishes the concrete making of his piece of work and formulates his "Annunciation of Intent", one of the most important conceptual art statements post-obit LeWitt'south "Paragraphs on Conceptual Art". The announcement, which underscores his subsequent practice, reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each beingness equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership."
Friedrich Heubach launches the mag Interfunktionen in Cologne, Deutschland, a publication that excelled in artists' projects. It originally showed a Fluxus influence, but subsequently moved toward conceptual art.
1969: The showtime generation of New York alternative exhibition spaces are established, including Billy Apple's APPLE, Robert Newman'due south Gain Ground, where Vito Acconci produced many important early on works, and 112 Greene Street.^[33] ^[39]
1969: Robert Barry'south Telepathic Piece at Simon Fraser University, Vancouver, of which he said "During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or image."
1969: The first outcome of Art-Language: The Periodical of conceptual art is published in May, edited past Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Language are the editors of this first number, and by 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 individual infinite. The piece is presented as photographs.
The English language journal Studio International publishes Joseph Kosuth´due south article "Art after Philosophy" in 3 parts (October–Dec). It became the most discussed article on conceptual art.
1970: Ian Burn down, Mel Ramsden and Charles Harrison join Fine art & Language.^[38]
1970: Painter John Baldessari exhibits a motion-picture show in which he sets a series of erudite statements by Sol LeWitt on the subject of conceptual art to popular tunes like "Camptown Races" and "Some Enchanted Evening".
1970: Douglas Huebler exhibits a serial of photographs taken every ii minutes while driving along a road for 24 minutes.
1970: Douglas Huebler asks museum visitors to write downward 'one authentic clandestine'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading every bit most secrets are similar.
1971: Hans Haacke's Real Time Social System. This slice of systems art detailed the real manor holdings of the third largest landowners in New York City. The properties, by and large in Harlem and the Lower Due east Side, were decrepit and poorly maintained, and represented the largest concentration of existent estate in those areas under the control of a single group. The captions gave various fiscal details about the buildings, including recent 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 fine art museum organism". There is no evidence to advise 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 Alphabetize 01 at the Documenta 5, an installation indexing text-works by Art & Language and text-works from Art-Linguistic communication.
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 separate poster, and under each alphabetic character is written the proper noun of some victim of state repression.
1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their ain works of art.
General Idea launch File magazine 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: Three issues of the periodical The Fox were published by Art & Language in New York. The editor was Joseph Kosuth. The Play tricks 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 articles which thematized the context of gimmicky art. These articles exemplify the evolution of an institutional critique within the inner circumvolve of conceptual art. The criticism of the art world integrates social, political and economic reasons.
1975–77 Orshi Drozdik'due south Private Mythology functioning, photography and offsetprint serial and her theory of ImageBank in Budapest.
1976: facing internal bug, members of Art & Linguistic communication dissever. The destiny of the name Fine art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison easily.
1977: Walter De Maria's Vertical Earth Kilometer in Kassel, Deutschland. This was a one kilometer brass rod which was sunk into the globe so that aught remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer's listen.
1982: The opera Victorine by Art & Linguistic communication was to exist performed in the urban center of Kassel for documenta 7 and shown alongside Art & Language Studio at 3 Wesley Place Painted past Actors, simply the performance was cancelled.^[40]
1986: Art & Language are nominated for the Turner Prize.
1989: Christopher Williams' Republic of angola to Vietnam is first exhibited. The work consists of a series of black-and-white photographs of glass botanical specimens from the Botanical Museum at Harvard University, called co-ordinate to a list of the 30-six 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 "tertiary 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 Expiry 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 see.^[43]
1993: Matthieu Laurette established his creative birth certificate by taking part 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 artist'. Laurette had sent out invitations to an art audience to view the bear witness on TV from their homes, turning his staging of the creative person into a performed reality.
1993: Vanessa Beecroft holds her kickoff functioning in Milan, Italy, using models to human activity every bit a second audition to the display 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 past detritus such as condoms, blood-stained knickers, bottles and her sleeping accommodation 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 Center of Gimmicky Fine art, Seattle, WA Flesh Tone #1: Skinned, a collaborative cocky-portrait where she asked paint mixers from local hardware stores to create firm paint to match various parts of her body, while recording the interactions.^[45]
2004: Andrea Fraser's video Untitled, a document 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 meet) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Be Fun, a 27-page 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 big 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 afterward winning an international competition. The inscription on acme of the three-pace sculpture features a verse form by Scottish poet Ian Hamilton Finlay (1924–2006) with just two words: all alone.

Notable conceptual artists [edit]

Kevin Abosch (born 1969)
Vito Acconci (1940–2017)
Bas Jan Ader (1942–1975)
Vikky Alexander (born 1959)
Francis Alÿs (built-in 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 (born 1961)
damali ayo (built-in 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)
Marking Bloch (born 1956)
Mel Bochner (born 1940)
Marinus Boezem (born 1934)
Maurizio Bolognini (born 1952)
Allan Bridge (1945–1995)
Marcel Broodthaers (1924–1976)
Chris Brunt (1946–2015)
María Teresa Burga Ruiz (1935–2021)
Daniel Buren (born 1938)
Victor Burgin (built-in 1941)
Donald Burgy (born 1937)
Maris Bustamante (born 1949)
John Cage (1912–1992)
Cai Guo-Qiang (built-in 1957)
Sophie Calle (born 1953)
Graciela Carnevale (born 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 (built-in 1940)
Andrea Fraser (born 1965)
Jens Galschiøt (built-in 1954)
Kendell Geers
Thierry Geoffroy (built-in 1961)
Jochen Gerz (born 1940)
Gilbert and George Gilbert (built-in 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 (born 1945)
Zhang Huan (born 1965)
Douglas Huebler (1924–1997)
Full 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 (born 1941)
Yves Klein (1928–1962)
John Knight (artist) (born 1945)
Joseph Kosuth (born 1945)
Barbara Kruger (born 1945)
Yayoi Kusama (built-in 1929)
Magali Lara (built-in 1956)
John Latham (1921–2006)
Matthieu Laurette (born 1970)
Sol LeWitt (1928–2007)
Annette Lemieux (built-in 1957)
Elliott Linwood (born 1956)
Noah Lyon (born 1979)
Richard Long (built-in 1945)
Marker Lombardi (1951–2000)
George Maciunas (1931–1978)
Teresa Margolles (born 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 (born 1942)
Robert Morris (artist) (1931–2018)
North.E. Thing Co. Ltd. (Iain & Ingrid Baxter) Iain (built-in 1936) Ingrid (built-in 1938)
Maurizio Nannucci (born 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 (born 1944)
Charles Recher (1950–2017)
Jim Ricks (born 1973)
Lotty Rosenfeld (1943–2020)
Martha Rosler (built-in 1943)
Allen Ruppersberg (built-in 1944)
Santiago Sierra (born 1966)
Bodo Sperling (born 1952)
Stelarc (built-in 1946)
Chiliad. Vänçi Stirnemann (born 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 (built-in 1939)
Wolf Vostell (1932–1998)
Marking Wallinger (born 1959)
Gillian Wearing (built-in 1963)
Peter Weibel (built-in 1945)
Lawrence Weiner (built-in 1942)
Roger Welch (built-in 1946)
Christopher Williams (born 1956)
xurban commonage
Industry of the Ordinary
Arne Quinze (born 1971)

See likewise [edit]

Post-conceptualism
Anti-art
Anti-anti-art
Body art
Classificatory disputes most art
Conceptual architecture
Contemporary fine art
Danger music
Experiments in Art and Technology
Found object
Gutai group
Happening
Fluxus
Information art
Installation art
Intermedia
Land art
Modern fine art
Moscow Conceptualists
Neo-conceptual fine art
Olfactory fine art
Cyberspace fine art
Postmodern art
Relational art
Generative Fine art
Street installation
Something Else Press
Systems fine art
Video art
Visual arts
Fine art/MEDIA

Private works [edit]

Fountain
I and Three Chairs
The Helpmate Stripped Bare Past Her Bachelors, Even
Mirror Piece
Hush-hush Painting
Victorine

References [edit]

^ "Wall Drawing 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, Fine art After Philosophy (1969). Reprinted in Peter Osborne, Conceptual Art: Themes and Movements, Phaidon, London, 2002. p. 232
^ Art & Language, Fine art-Linguistic communication The Journal of conceptual art: Introduction (1969). Reprinted in Osborne (2002) p. 230
^ Ian Burn down, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.g. "The outcome of much of the 'conceptual' piece of work of the by two years has been to carefully clear the air of objects."
^ "Turner Prize history: Conceptual art". Tate Gallery. tate.org.uk. Accessed Baronial 8, 2006
^ Tony Godfrey, Conceptual Art, London: 1998. p. 28
^ "Essay: Concept Art". world wide web.henryflynt.org.
^ "The Crystallization of Concept Fine art in 1961". www.henryflynt.org.
^ Henry Flynt, "Concept-Fine art (1962)", Translated and introduced by 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", Fine 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%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf^{[ expressionless link ]}
^ Conceptual Fine art – "In 1967, Sol LeWitt published Paragraphs on Conceptual Art (considered past many to be the movement'southward manifesto) [...]."
^ "Conceptual Fine art – The Fine art Story". theartstory.org. The Art Story Foundation. Retrieved 25 September 2014.
^ Atkins, Robert: Artspeak, 1990, Abbeville Printing, ISBN 1-55859-010-ii
^ Hensher, Philip (2008-02-20). "The loo that shook the world: Duchamp, Man Ray, Picabi". London: The Independent (Extra). pp. 2–five.
^ Judovitz: Unpacking Duchamp, 92–94.
^ [1] Marcel Duchamp.cyberspace, retrieved December 9, 2009
^ Marcel Duchamp, Belle haleine – Eau de voilette, Collection Yves Saint Laurent et Pierre Bergé, Christie's Paris, Lot 37. 23 – 25 February 2009
^ Kostelanetz, Richard (2003). Conversing with John Cage. New York: Routledge. ISBN 0-415-93792-ii. pp. 69–71, 86, 105, 198, 218, 231.
^ Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988
^ Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 333
^ ChewingTheSun. "Vorschau – Museum Morsbroich".
^ ^a ^b Byrt, Anthony. "Brand, new". Frieze Magazine . Retrieved 28 November 2012.
^ Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, ISBN 978-3-86678-700-1.
^ Tate (2016-04-22), Fine art & Linguistic communication – Conceptual Art, Mirrors and Selfies | TateShots , retrieved 2017-07-29
^ "Air-conditioning Prove / Air Bear witness / Frameworks 1966–67". www.macba.cat. Archived from the original on 2017-07-29. Retrieved 2017-07-29 .
^ "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 October 2011). "The Rise and Fall of Alternative Spaces". Books&ideas.cyberspace . Retrieved 28 November 2012.
^ Harrison, Charles (2001). Conceptual art and painting Further essays on Fine art & Language. Cambridge: The MIT Press. p. 58. ISBN0-262-58240-vi.
^ Brenson, Michael (nineteen October 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 Art, Neos. ISBN88-87262-47-0.
^ "BBC News – ARTS – Creed lights up Turner prize". 10 Dec 2001.
^ "Third Coast Sound Festival Behind the Scenes with damali ayo".
^ "The Times & The Lord's day Times". www.thetimes.co.uk.

External links [edit]

millertond1935.blogspot.com

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

Alexander Alberto and Blake Stimson Conceptual Art a Critical Anthology pdf

Precursors [edit]

Origins [edit]

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

Language and/as art [edit]

Conceptual art and artistic skill [edit]

Gimmicky influence [edit]

Notable examples [edit]

Notable conceptual artists [edit]

See likewise [edit]

Private works [edit]

References [edit]

Further reading [edit]

External links [edit]

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