A Mc Green ââåwhen Attitudes Become Formã¢â❠and the Contest Over Conceptual Art History 2004

Art movement

Conceptual art, also referred to as conceptualism, is art in which the concept(southward) or idea(s) involved in the piece of work accept precedence over traditional aesthetic, technical, and fabric concerns. Some works of conceptual art, sometimes called installations, may exist constructed by anyone merely past following a gear up of written instructions.^[1] This method was primal to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print:

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

Tony Godfrey, author of Conceptual Fine art (Art & Ideas) (1998), asserts that conceptual art questions the nature of art,^[iii] 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 art should examine its own nature was already a potent aspect of the influential art critic Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based fine art in the 1960s, however, conceptual artists such as Art & Language, Joseph Kosuth (who became the American editor of Art-Language), and Lawrence Weiner began a far more than radical interrogation of art than was previously possible (see beneath). One of the commencement and most important things they questioned was the common supposition that the role of the creative person was to create special kinds of textile objects.^{[4] [5] [half-dozen]}

Through its association with the Immature British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the Uk, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture.^[seven] One of the reasons why the term "conceptual art" has come to be associated with various gimmicky practices far removed from its original aims and forms lies in the problem of defining the term itself. Every bit the creative person Mel Bochner suggested as early equally 1970, in explaining why he does not like the epithet "conceptual", information technology is not always entirely articulate what "concept" refers to, and information technology runs the adventure of being confused with "intention". Thus, in describing or defining a work of art every bit conceptual it is important not to confuse what is referred to as "conceptual" with an artist'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 instance. The most famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Club of Independent Artists in New York (which rejected information technology).^[8] The creative tradition does not see a commonplace object (such every bit a urinal) every bit fine art because it is not made by an creative person or with whatever intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was subsequently best-selling by The states artist Joseph Kosuth in his 1969 essay, Art after Philosophy, when he wrote: "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually".

In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, by its very nature, could never exist created in reality, simply which could all the same 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 actually exist except conceptually. The current incarnation (Every bit of 2013^[update]) of the Isouian movement, Excoördism, self-defines as the fine art of the infinitely large and the infinitely small.

Origins [edit]

In 1961, philosopher and creative person Henry Flynt coined the term "concept art" in an article bearing the same name which appeared in the proto-Fluxus publication An Anthology of Adventure Operations.^[9] Flynt'southward concept art, he maintained, devolved from his notion of "cerebral nihilism", in which paradoxes in logic are shown to evacuate concepts of substance. Drawing on the syntax of logic and mathematics, concept fine art was meant jointly to supersede mathematics and the formalistic music then electric current in serious 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 fabric, a quality which is absent from subsequent "conceptual art".^[xi]

The term causeless a different significant when employed by Joseph Kosuth and past the English Fine art and Linguistic communication grouping, who discarded the conventional art object in favour of a documented critical enquiry, that began in Art-Language: The Periodical of Conceptual Fine art in 1969, into the creative person's social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this terminate. 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 ceremonial and of the commodification of art [edit]

Conceptual art emerged as a movement during the 1960s – in role as a reaction against ceremonial every bit then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Mod art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for instance, was to ascertain 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 exist flat objects with canvas surfaces onto which colored paint is applied, such things as figuration, three-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.^[13]

Some have argued that conceptual art connected this "dematerialization" of fine art past removing the demand for objects altogether,^[fourteen] while others, including many of the artists themselves, saw conceptual art as a radical pause with Greenberg's kind of formalist Modernism. Later on artists continued to share a preference for art to exist cocky-disquisitional, likewise as a distaste for illusion. However, by the end of the 1960s it was certainly clear that Greenberg'south stipulations for art to continue within the confines of each medium and to exclude external subject thing no longer held traction.^[15] Conceptual art also reacted against the commodification of art; it attempted a subversion of the gallery or museum as the location and determiner of art, and the art market every bit the possessor and distributor of art. Lawrence Weiner said: "Once you know most a work of mine yous own it. At that place's no way I can climb inside somebody's head and remove information technology." Many conceptual artists' work tin therefore just exist known about through documentation which is manifested by it, east.g., 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, merely stopping short of actually making information technology—emphasising the idea every bit more than important than the antiquity. This reveals an explicit preference for the "fine art" side of the ostensible dichotomy between art and arts and crafts, where art, unlike craft, takes place inside and engages historical soapbox: for case, Ono's "written instructions" make more sense alongside other conceptual fine art of the fourth dimension.

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

Language and/as fine art [edit]

Linguistic communication was a cardinal concern for the offset wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[16] Joseph Kosuth, Robert Barry, and Art & Language begin to produce art past exclusively linguistic means. Where previously language was presented every bit one kind of visual element alongside others, and subordinate to an overarching limerick (due east.grand. Synthetic Cubism), the conceptual artists used language in place of brush and canvas, and allowed it to signify in its own correct.^[17] Of Lawrence Weiner's 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, withal separate, 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 fine art, a central role for conceptualism came from the turn to linguistic theories of pregnant 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.^[nineteen] Osborne also notes that the early on conceptualists were the first generation of artists to complete degree-based university training in art.^[20] Osborne afterwards made the observation that contemporary art is mail-conceptual ^[21] in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July ix, 2010. It is a claim made at the level of the ontology of the piece of work of art (rather than say at the descriptive level of mode or motion).

The American fine art historian Edward A. Shanken points to the example of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British creative person virtually closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his utilize 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 Structure of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard'due south seminal Six Years: The Dematerialization of the Fine art Object from 1966 to 1972, Ascott'southward anticipation of and contribution to the formation of conceptual art in Uk has received scant recognition, perhaps (and ironically) considering his work was as well closely allied with art-and-technology. Some other vital intersection was explored in Ascott'due south use of the thesaurus in 1963 telematic connections:: timeline, which drew an explicit parallel betwixt the taxonomic qualities of exact and visual languages – a concept would be taken up in Joseph Kosuth'due south Second Investigation, Proposition 1 (1968) and Mel Ramsden's Elements of an Incomplete Map (1968).

Conceptual art and creative skill [edit]

By adopting language as their sectional medium, Weiner, Barry, Wilson, Kosuth and Fine art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials.^[eighteen]

An important divergence between conceptual fine art and more "traditional" forms of fine art-making goes to the question of artistic skill. Although skill in the handling of traditional media often plays picayune function in conceptual art, it is hard to argue that no skill is required to make conceptual works, or that skill is e'er absent-minded from them. John Baldessari, for instance, has presented realist pictures that he commissioned professional sign-writers to paint; and many conceptual performance artists (e.chiliad. Stelarc, Marina Abramović) are technically achieved performers and skilled manipulators of their own bodies. It is thus non so much an absence of skill or hostility toward tradition that defines conceptual fine art equally an evident disregard for conventional, modern notions of authorial presence and of individual creative expression.^{[ citation needed ]}

Contemporary influence [edit]

Proto-conceptualism has roots in the rise of Modernism with, for example, Manet (1832–1883) and later Marcel Duchamp (1887–1968). The first wave of the "conceptual art" movement extended from approximately 1967^[22] to 1978. Early "concept" artists similar Henry Flynt (1940– ), Robert Morris (1931–2018), and Ray Johnson (1927–1995) influenced the subsequently, 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 gimmicky artists such every bit Mike Kelley or Tracey Emin are sometimes labeled^{[ by whom? ]} "second- or third-generation" conceptualists, or "post-conceptual" artists (the prefix Post- in art tin frequently be interpreted every bit "considering of").

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

Notable examples [edit]

• 1913 : Bicycle Wheel (Roue de bicyclette) by Marcel Duchamp. Assisted readymade. Bicycle bicycle mounted by its fork on a painted wooden stool. The get-go readymade, even though he did not accept the idea for readymades until 2 years later. The original was lost. Also, recognized equally the starting time kinetic sculpture.^[24]
• 1914 : Pharmacy (Pharmacie) past Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with bare trees and a winding stream to which he added ii circles, ruby-red and dark-green.
• 1914 : Canteen Rack (too chosen Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) by Marcel Duchamp. Readymade. A galvanized iron bottle drying rack that Duchamp bought as an "already fabricated" sculpture, merely it gathered dust in the corner of his Paris studio. 2 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 afterward his Paris studio, has already tending 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 slice the artist officially called a "readymade".
• 1915 : Pulled at 4 pins past Marcel Duchamp. Readymade. An unpainted chimney ventilator that turns in the wind. Duchamp liked that the literal translation meant nothing in English and had no relation to the object.
• 1916 : With Hidden Dissonance (A bruit underground) by Marcel Duchamp. Assisted readymade. A ball of twine between two brass plates, joined by four screws. An unknown object has been placed in the ball of twine by Duchamp'due south friend, Walter Arensberg.
• 1916 : Comb (Peigne) by Marcel Duchamp. Readymade. Steel domestic dog grooming rummage inscribed along the border.
• 1917 : Traveller's Folding Item (...pliant,... de voyage) by Marcel Duchamp. Readymade. Underwood Typewriter encompass.
• 1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An contradistinct Sapolin pigment advertisement.
• 1917 : Fountain past Marcel Duchamp, described in an article in The Independent as the invention of conceptual art. It is likewise an early example of an Institutional Critique^[25]
• 1917 : 'Trap (Trébuchet) past Marcel Duchamp. Readymade. Wood and metal coatrack attached to floor.
• 1917 : Hat Rack (Porte-chapeaux), c. 1917, by Marcel Duchamp. Readymade. A wooden hatrack.^[26]
• 1919 : Fifty.H.O.O.Q. by 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, past Marcel Duchamp. Assisted readymade. Duchamp instructed his sister Suzanne to hang a geometry textbook from the balustrade of her Paris flat. Suzanne carried out the instructions and painted a moving-picture show of the result.
• 1919 : 50 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 equally a gift.
• 1920 : Fresh Widow by Marcel Duchamp. Readymade. An altered French window creating a pun.
• 1921 : Why Non Sneeze, Rose Sélavy? by Marcel Duchamp. Assisted readymade. Marble cubes in the shape of carbohydrate lumps with a thermometer and cuttle basic in a small-scale bird cage.
• 1921 : Belle Haleine, Eau de Voilette by Marcel Duchamp. Assisted readymade. An altered perfume bottle in the original box.^[28]
• 1921 : The Ball at Austerlitz by Marcel Duchamp. Readymade. Similar Fresh Widow, made by a carpenter according to Duchamp's specifications.
• 1923 : Wanted, $2,000 Advantage by Marcel Duchamp. Rectified readymade. Photographic collage on poster.
• 1952 : The premiere of American experimental composer John Cage's work, 4′33″, a three-movement composition, performed by pianist David Tudor on August 29, 1952, in Maverick Concert Hall, Woodstock, New York, as role of a recital of contemporary pianoforte music.^[29] Information technology is commonly perceived every bit "iv minutes thirty-three seconds of silence".
• 1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a cartoon by Willem de Kooning which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another creative person'south work could be a artistic deed, also equally whether the work was just "fine art" considering the famous Rauschenberg had done it.
• 1955 : Rhea Sue Sanders creates her beginning text pieces of the serial pièces de complices, combining visual fine art with poesy 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; Bluish Epoch exhibition. Klein also exhibited 1 Infinitesimal Fire Painting, which was a blue console into which 16 firecrackers were gear up. For his side by side 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 Outcome Score ^[31] which would become a primal characteristic of Fluxus. Brecht, Dick Higgins, Allan Kaprow, Al Hansen, Jackson MacLow and others studied with John Muzzle betwixt 1958 and 1959 at the New School leading directly to the cosmos of Happenings, Fluxus and Henry Flynt'south concept art. Issue Scores are simple instructions to complete everyday tasks which can exist performed publicly, privately, or not 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 activeness called A Leap 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 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 and so.' as his contribution to an exhibition of portraits.
• 1961: Piero Manzoni exhibited Artist'due south Shit, tins purportedly containing his own feces (although since the work would exist 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) every bit Bodies of Air, and signed people'south 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: Creative person Barrie Bates rebrands himself as Billy Apple, erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by 3rd parties.^[33]
• 1962: Christo'south Atomic number 26 Curtain 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 own "pictorial sensitivity" (any that was – he did non define it) in commutation for aureate foliage. In these ceremonies the purchaser gave Klein the gilded leaf in return for a document. Since Klein's sensitivity was immaterial, the purchaser was and then required to burn the certificate whilst Klein threw one-half the golden leafage into the Seine. (At that place were seven purchasers.)
• 1962: Piero Manzoni created The Base of operations of the Earth, thereby exhibiting the entire planet as his artwork.
• 1962: Alberto Greco began his Vivo Dito or Alive Fine art serial, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco chosen attention to the art in everyday life, thereby asserting that art was really a process of looking and seeing.
• 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with George Maciunas, Wolf Vostell, Nam June Paik and others.^[34]
• 1963: George Brecht's drove of Result-Scores, Water Yam, is published as the starting time Fluxkit by George Maciunas.
• 1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
• 1963: Henry Flynt's article Concept Fine 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 Album of Chance Operations documented the development of Dick Higgins's vision of intermedia art in the context of the ideas of John Cage, and became an early on pre-Fluxus masterpiece. Flynt's "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 Book of Instructions and Drawings, an example of heuristic fine art, or a serial of instructions for how to obtain an aesthetic experience.
• 1965: Fine art & Language founder Michael Baldwin's Mirror Piece. Instead of paintings, the work shows a variable number of mirrors that claiming both the visitor and Clement Greenberg'southward theory.^[35]
• 1965: A complex conceptual art piece past John Latham called However and Chew. He invites art students to protest against the values of Cloudless Greenberg's Art and Culture, much praised and taught at Saint Martin's School of Fine art in London, where Latham taught part-time. Pages of Greenberg'due south volume (borrowed from the higher library) are chewed by the students, dissolved in acrid and the resulting solution returned to the library bottled and labelled. Latham was then fired from his role-time position.
• 1965: with Testify V, immaterial sculpture the Dutch creative person Marinus Boezem introduced conceptual art in the netherlands. In the testify, diverse air doors are placed where people can walk through them. People have the sensory experience of warmth, air. Three invisible air doors, which arise every bit currents of common cold and warm are blown into the room, are indicated in the infinite with bundles of arrows and lines. The articulation of the space that arises is the result of invisible processes which influence the behave of persons in that infinite, and who are included in the system equally co-performers.
• Joseph Kosuth dates the concept of One and Iii Chairs to the yr 1965. The presentation of the work consists of a chair, its photograph, and an enlargement of a definition of the word "chair". Kosuth chose the definition from a dictionary. 4 versions with dissimilar definitions are known.
• 1966: Conceived in 1966 The Ac Show of Art & Linguistic communication is published as an article in 1967 in the November issue of Arts Magazine.^[36]
• 1966: North.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Place, the contents of a four-room apartment wrapped in plastic bags. The aforementioned year they registered equally a corporation and subsequently organized their practice forth corporate models, one of the first international examples of the "aesthetic of administration".
• 1967: Mel Ramsden's first 100% Abstruse Paintings. The painting shows a list 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 marker the progression from Minimal to Conceptual Fine art.
• 1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell plant Art & Language.^[38]
• 1968: Lawrence Weiner relinquishes the concrete making of his work and formulates his "Annunciation of Intent", one of the virtually of import conceptual art statements following LeWitt's "Paragraphs on Conceptual Art". The declaration, which underscores his subsequent practice, reads: "ane. The creative person may construct the piece. two. The piece may be fabricated. 3. The piece need non be congenital. Each being equal and consequent with the intent of the creative person the conclusion every bit to condition rests with the receiver upon the occasion of receivership."
• Friedrich Heubach launches the magazine Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. Information technology originally showed a Fluxus influence, but subsequently moved toward conceptual art.
• 1969: The first generation of New York alternative exhibition spaces are established, including Billy Apple tree'south APPLE, Robert Newman'due south Proceeds Ground, where Vito Acconci produced many of import early on works, and 112 Greene Street.^{[33] [39]}
• 1969: Robert Barry'southward Telepathic Piece at Simon Fraser Academy, Vancouver, of which he said "During the exhibition I will try to communicate telepathically a work of fine art, the nature of which is a series of thoughts that are not applicable to language or image."
• 1969: The first consequence of Art-Language: The Journal 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 past the second number Joseph Kosuth joins and serves as American editor until 1972.
• 1969: Vito Acconci creates Post-obit Piece, in which he follows randomly selected members of the public until they disappear into a private space. The slice is presented as photographs.
• The English journal Studio International publishes Joseph Kosuth´s article "Art later Philosophy" in 3 parts (October–December). Information technology became the most discussed article on conceptual art.
• 1970: Ian Fire, Mel Ramsden and Charles Harrison join Art & Language.^[38]
• 1970: Painter John Baldessari exhibits a film in which he sets a series of brainy statements by Sol LeWitt on the bailiwick of conceptual fine art to popular tunes similar "Camptown Races" and "Some Enchanted Evening".
• 1970: Douglas Huebler exhibits a series of photographs taken every two minutes while driving along a route for 24 minutes.
• 1970: Douglas Huebler asks museum visitors to write downwardly 'i accurate secret'. The resulting 1800 documents are compiled into a book which, past some accounts, makes for very repetitive reading equally almost secrets are similar.
• 1971: Hans Haacke's Existent Time Social System. This slice of systems art detailed the real estate holdings of the third largest landowners in New York Urban center. The properties, mostly in Harlem and the Lower East Side, were bedraggled and poorly maintained, and represented the largest concentration of real estate in those areas nether the control of a unmarried grouping. The captions gave diverse financial details near the buildings, including contempo sales betwixt companies owned or controlled by the aforementioned 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". At that place 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 Establish exhibits Index 01 at the Documenta five, an installation indexing text-works past Fine art & Language and text-works from Art-Language.
• 1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his piece of work: Aquinocabeelarte (Art does not fit here), where each of the messages is a separate affiche, and under each letter is written the name of some victim of land repression.
• 1972: Fred Forest buys an area of bare space in the newspaper Le Monde and invites readers to fill it with their own 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 bare canvases or newspaper sheets in the natural surround for nature to create art.
• 1974: Cadillac Ranch most Amarillo, Texas.
• 1975–76: Three issues of the journal The Fox were published past Art & Language in New York. The editor was Joseph Kosuth. The Play a joke on became an important platform for the American members of Fine art & Linguistic communication. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of contemporary art. These articles exemplify the development of an institutional critique within the inner circumvolve of conceptual art. The criticism of the art globe integrates social, political and economic reasons.
• 1975–77 Orshi Drozdik's Private Mythology performance, photography and offsetprint serial and her theory of ImageBank in Budapest.
• 1976: facing internal problems, members of Art & Language split up. The destiny of the name Art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
• 1977: Walter De Maria's Vertical Earth Kilometer in Kassel, Germany. This was a one kilometer brass rod which was sunk into the earth so that null remained visible except a few centimeters. Despite its size, therefore, this piece of work exists mostly in the viewer's heed.
• 1982: The opera Victorine by Art & Linguistic communication was to exist performed in the city of Kassel for documenta 7 and shown alongside Fine art & Language Studio at 3 Wesley Place Painted past Actors, but the performance was cancelled.^[40]
• 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 serial of blackness-and-white photographs of drinking glass botanical specimens from the Botanical Museum at Harvard University, chosen co-ordinate to a listing of the thirty-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 Thing: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Art.^[41]
• 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery.^[42]
• 1991: Charles Saatchi funds Damien Hirst and the side by side twelvemonth in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine.
• 1992: Maurizio Bolognini starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would come across.^[43]
• 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French Tv set 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 fine art audience to view the show on Tv from their homes, turning his staging of the artist into a performed reality.
• 1993: Vanessa Beecroft holds her starting time functioning in Milan, Italy, using models to act equally a 2nd audience to the display of her diary of food.
• 1999: Tracey Emin is nominated for the Turner Prize. Function of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
• 2001: Martin Creed wins the Turner Prize for Work No. 227: The lights going on and off, an empty room in which the lights go on and off.^[44]
• 2003: damali ayo exhibits at the Center of Contemporary Art, Seattle, WA Mankind Tone #1: Skinned, a collaborative self-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 see in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the encounter) 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 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 downward the Rhine and turned back into a shed once more.^[46]
• 2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin.
• 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Armed forces Justice on Vienna'southward Ballhausplatz subsequently winning an international competition. The inscription on top of the three-step sculpture features a verse form by Scottish poet Ian Hamilton Finlay (1924–2006) with just ii words: all lone.

Notable conceptual artists [edit]

• Kevin Abosch (built-in 1969)
• Vito Acconci (1940–2017)
• Bas January Ader (1942–1975)
• Vikky Alexander (born 1959)
• Francis Alÿs (born 1959)
• Keith Arnatt (1930–2008)
• Art & Linguistic communication
• Roy Ascott (born 1934)
• Marina Abramović (born 1946)
• Billy Apple tree (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 (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)
• Mark Bloch (born 1956)
• Mel Bochner (born 1940)
• Marinus Boezem (born 1934)
• Maurizio Bolognini (born 1952)
• Allan Bridge (1945–1995)
• Marcel Broodthaers (1924–1976)
• Chris Burden (1946–2015)
• María Teresa Burga Ruiz (1935–2021)
• Daniel Buren (built-in 1938)
• Victor Burgin (born 1941)
• Donald Burgy (born 1937)
• Maris Bustamante (born 1949)
• John Cage (1912–1992)
• Cai Guo-Qiang (born 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 (built-in 1970)
• Jeremy Deller (born 1966)
• Agnes Denes (built-in 1938)
• Jan Dibbets (born 1941)
• Mark Divo (built-in 1966)
• Brad Downey (born 1980)
• Marcel Duchamp (1887–1968)
• Olafur Eliasson (born 1967)
• Noemí Escandell (1942–2019)
• Ken Feingold (built-in 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 (born 1943) George (born 1942)
• Manav Gupta (born 1967)
• Felix Gonzalez-Torres (1957–1996)
• Allan Graham (1943–2019)
• Dan Graham (1942-2022)
• Hans Haacke (built-in 1936)
• Iris Häussler (born 1962)
• Irma Hünerfauth (1907–1998)
• Oliver Herring (built-in 1964)
• Andreas Heusser (built-in 1976)
• Jenny Holzer (born 1950)
• Greer Honeywill (built-in 1945)
• Zhang Huan (born 1965)
• Douglas Huebler (1924–1997)
• General Idea
• David Ireland (1930–2009)
• Alfredo Jaar (built-in 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 (built-in 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 (built-in 1979)
• Richard Long (built-in 1945)
• Mark 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 (born 1948)
• Ana Mendieta (born 1985)
• Marta Minujín (born 1943)
• Linda Montano (born 1942)
• Robert Morris (artist) (1931–2018)
• N.E. Affair Co. Ltd. (Iain & Ingrid Baxter) Iain (born 1936) Ingrid (born 1938)
• Maurizio Nannucci (born 1939)
• Bruce Nauman (born 1941)
• Olaf Nicolai (built-in 1962)
• Margaret Noble (built-in 1972)
• Yoko Ono (born 1933)
• Roman Opałka (1931–2011)
• Dennis Oppenheim (1938–2011)
• Michele Pred
• Adrian Piper (built-in 1948)
• William Pope.L (built-in 1955)
• Liliana Porter (born 1941)
• Dmitri Prigov (1940–2007)
• Guillem Ramos-Poquí (built-in 1944)
• Charles Recher (1950–2017)
• Jim Ricks (built-in 1973)
• Lotty Rosenfeld (1943–2020)
• Martha Rosler (born 1943)
• Allen Ruppersberg (born 1944)
• Santiago Sierra (born 1966)
• Bodo Sperling (born 1952)
• Stelarc (born 1946)
• M. Vänçi Stirnemann (born 1951)
• Hiroshi Sugimoto (born 1948)
• Stephanie Syjuco (built-in 1974)
• Hakan Topal (born 1972)
• Endre Tot (born 1937)
• David Tremlett (built-in 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 (born 1971)

Meet also [edit]

• Mail-conceptualism
• Anti-fine art
• Anti-anti-art
• Body fine art
• Classificatory disputes near art
• Conceptual architecture
• Gimmicky fine art
• Danger music
• Experiments in Art and Applied science
• Found object
• Gutai group
• Happening
• Fluxus
• Information art
• Installation fine art
• Intermedia
• Country fine art
• Modern fine art
• Moscow Conceptualists
• Neo-conceptual fine art
• Olfactory art
• Internet art
• Postmodern art
• Relational art
• Generative Fine art
• Street installation
• Something Else Press
• Systems art
• Video art
• Visual arts
• Art/MEDIA

Individual works [edit]

• Fountain
• One and Three Chairs
• The Helpmate Stripped Bare Past Her Bachelors, Fifty-fifty
• Mirror Piece
• Secret Painting
• Victorine

References [edit]

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

Further reading [edit]

Books

• Charles Harrison, Essays on Art & Linguistic communication, MIT Press, 1991
• Charles Harrison, Conceptual Art and Painting: Further essays on Art & Language, MIT press, 2001
• Ermanno Migliorini, Conceptual Fine art, Florence: 1971
• Klaus Honnef, Concept Fine art, Cologne: Phaidon, 1972
• Ursula Meyer, ed., Conceptual Art, New York: Dutton, 1972
• Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972. 1973. Berkeley: University of California Press, 1997.
• Gregory Battcock, ed., Idea Art: A Critical Anthology, New York: Due east. P. Dutton, 1973
• Jürgen Schilling, Aktionskunst. Identität von Kunst und Leben? Verlag C.J. Bucher, 1978, ISBN three-7658-0266-ii.
• Juan Vicente Aliaga & José Miguel G. Cortés, ed., Arte Conceptual Revisado/Conceptual Art Revisited, Valencia: Universidad Politécnica de Valencia, 1990
• Thomas Dreher, Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976 (Thesis Ludwig-Maximilians-Universität, München), Frankfurt am Main: Peter Lang, 1992
• Robert C. Morgan, Conceptual Art: An American Perspective, Jefferson, NC/London: McFarland, 1994
• Robert C. Morgan, Art into Ideas: Essays on Conceptual Art, Cambridge et al.: Cambridge 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 Printing, 1999
• Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London: Reaktion, 1999
• Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001
• Peter Osborne, Conceptual Fine art (Themes and Movements), Phaidon, 2002 (See also the external links for Robert Smithson)
• Alexander Alberro. Conceptual art and the politics of publicity. MIT Printing, 2003.
• Michael Corris, ed., Conceptual Fine art: Theory, Do, Myth, Cambridge, England: Cambridge University Press, 2004
• Daniel Marzona, Conceptual Art, Cologne: Taschen, 2005
• John Roberts, The Intangibilities of Grade: 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. – VIII, 152 p. : ill. ; 20 cm ISBN 0-415-42281-7 hbk : ISBN 978-0-415-42281-9 hbk : ISBN 0-415-42282-v pbk : ISBN 978-0-415-42282-6 pbk

Essays

• Andrea Sauchelli, 'The Acquaintance Principle, Aesthetic Judgments, and Conceptual Fine art, Journal of Aesthetic Teaching (forthcoming, 2016).

Exhibition catalogues

• Diagram-boxes and Analogue Structures, exh.cat. London: Molton Gallery, 1963.
• January 5–31, 1969, exh.true cat., New York: Seth Siegelaub, 1969
• When Attitudes Become Form, exh.cat., Bern: Kunsthalle Bern, 1969
• 557,087, exh.true cat., Seattle: Seattle Fine art Museum, 1969
• Konzeption/Conception, exh.cat., Leverkusen: Städt. Museum Leverkusen et al., 1969
• Conceptual Art and Conceptual Aspects, exh.cat., New York: New York Cultural Center, 1970
• Art in the Mind, exh.cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970
• Information, exh.cat., New York: Museum of Modern Art, 1970
• Software, exh.cat., New York: Jewish Museum, 1970
• Situation Concepts, exh.cat., Innsbruck: Forum für aktuelle Kunst, 1971
• Fine art conceptuel I, exh.cat., Bordeaux: capcMusée d'art contemporain de Bordeaux, 1988
• L'art conceptuel, exh.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.cat., Paris: Galerie 1900–2000 and Galerie de Poche, 1990
• Reconsidering the Object of Art: 1965–1975, exh.cat., Los Angeles: Museum of Contemporary Art, 1995
• Global Conceptualism: Points of Origin, 1950s–1980s, exh.true cat., New York: Queens Museum of Art, 1999
• Open up Systems: Rethinking Art c. 1970, exh.cat., London: Tate Modern, 2005
• Art & Language Uncompleted: The Philippe Méaille Collection, MACBA Printing, 2014
• Low-cal Years: Conceptual Fine art and the Photograph 1964–1977, exh.cat., Chicago: Art Institute of Chicago, 2011

External links [edit]

adamsmagning00.blogspot.com

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

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