In Conceptual Art What Takes the Place of the Art Object?

Art movement

Conceptual art, also referred to every bit conceptualism, is art in which the concept(southward) or idea(southward) involved in the work accept precedence over traditional aesthetic, technical, and material concerns. Some works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions.^[i] This method was fundamental to American artist Sol LeWitt'due south definition of conceptual art, one of the first to appear in impress:

In conceptual art the idea or concept is the virtually important aspect of the work. When an artist uses a conceptual form of fine art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory matter. 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 art,^[3] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Fine art later on Philosophy (1969). The notion that art should examine its own nature was already a potent aspect of the influential fine art critic Clement Greenberg'southward vision of Modernistic fine art during the 1950s. With the emergence of an exclusively linguistic communication-based art in the 1960s, however, conceptual artists such every bit Art & Language, Joseph Kosuth (who became the American editor of Fine art-Language), and Lawrence Weiner began a far more than radical interrogation of art than was previously possible (encounter beneath). One of the first and nearly important things they questioned was the common assumption that the role of the creative person was to create special kinds of textile objects.^[four] ^[v] ^[6]

Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the Great britain, "conceptual fine art" came to denote all gimmicky art that does non do the traditional skills of painting and sculpture.^[7] One of the reasons why the term "conceptual art" has come to be 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 non like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention". Thus, in describing or defining a work of art equally conceptual it is important non to confuse what is referred to equally "conceptual" with an creative person'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 example. The nigh 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 artistic tradition does non see a commonplace object (such as a urinal) as art considering it is non made by an creative person or with whatever intention of existence art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later acknowledged by U.s.a. artist Joseph Kosuth in his 1969 essay, Art after Philosophy, when he wrote: "All fine art (after Duchamp) is conceptual (in nature) because fine art simply 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 yet provide aesthetic 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 exist except conceptually. The current incarnation (As of 2013^[update]) of the Isouian movement, Excoördism, cocky-defines as the art of the infinitely large and the infinitely small.

Origins [edit]

In 1961, philosopher and artist Henry Flynt coined the term "concept fine art" in an commodity bearing the same name which appeared in the proto-Fluxus publication An Album of Chance Operations.^[9] Flynt's 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 art was meant jointly to supersede mathematics and the formalistic music and then electric current in serious fine art music circles.^[ten] Therefore, Flynt maintained, to merit the label concept art, a work had to be a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent-minded from subsequent "conceptual art".^[11]

The term assumed a different significant when employed by Joseph Kosuth and past the English Fine art and Language grouping, 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'southward 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 offset dedicated conceptual-art exhibition, took place at the New York Cultural Heart.^[12]

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

Conceptual art emerged as a motility during the 1960s – in part as a reaction against formalism as and then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modernistic art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and cypher else. Equally information technology is of the nature of paintings to be flat objects with sheet surfaces onto which colored pigment is applied, such things as figuration, 3-D perspective illusion and references to external field of study affair were all found to exist 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 need for objects altogether,^[xiv] while others, including many of the artists themselves, saw conceptual art every bit a radical break with Greenberg's kind of formalist Modernism. Afterwards artists continued to share a preference for fine art to exist self-critical, equally well equally a distaste for illusion. Still, by the stop of the 1960s it was certainly articulate that Greenberg'south stipulations for art to keep within the confines of each medium and to exclude external subject matter no longer held traction.^[15] Conceptual art also reacted confronting the commodification of art; it attempted a subversion of the gallery or museum equally the location and determiner of art, and the art market place as the owner and benefactor of art. Lawrence Weiner said: "Once you know about a work of mine you own information technology. There's no fashion I can climb within somebody's caput and remove information technology." Many conceptual artists' work can therefore only exist known about through documentation which is manifested by information technology, eastward.one thousand., photographs, written texts or displayed objects, which some might argue are not in and of themselves the art. It is sometimes (as in the piece of work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of really making it—emphasising the idea as more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy betwixt art and craft, where art, unlike craft, takes place within and engages historical discourse: for example, Ono's "written instructions" make more sense alongside other conceptual fine art of the time.

Lawrence Weiner. $.25 & Pieces Put Together to Present a Semblance of a Whole, The Walker Fine art Centre, Minneapolis, 2005.

Language and/every bit art [edit]

Language was a cardinal business concern for the starting time wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[16] Joseph Kosuth, Robert Barry, and Art & Language brainstorm to produce art by exclusively linguistic means. Where previously linguistic communication was presented as one kind of visual element alongside others, and subordinate to an overarching composition (e.g. Synthetic Cubism), the conceptual artists used language in place of brush and sheet, and allowed it to signify in its own right.^[17] Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of private works derives solely from the import of the linguistic communication employed, while presentational means and contextual placement play crucial, still split up, roles."^[18]

The British philosopher and theorist of conceptual fine art Peter Osborne suggests that among the many factors that influenced the gravitation toward language-based fine art, a central part for conceptualism came from the turn to linguistic theories of meaning in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental philosophy during the middle of the twentieth century. This linguistic plough "reinforced and legitimized" the management the conceptual artists took.^[19] Osborne as well notes that the early conceptualists were the showtime generation of artists to complete degree-based academy training in art.^[xx] Osborne later made the ascertainment that contemporary art is post-conceptual ^[21] in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. It is a claim made at the level of the ontology of the piece of work of art (rather than say at the descriptive level of style or movement).

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

Conceptual art and artistic skill [edit]

By adopting linguistic communication as their sectional medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the treatment of materials.^[18]

An important deviation betwixt 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 little role in conceptual art, it is difficult to argue that no skill is required to make conceptual works, or that skill is always absent from them. John Baldessari, for example, has presented realist pictures that he commissioned professional sign-writers to pigment; and many conceptual performance artists (e.chiliad. Stelarc, Marina Abramović) are technically accomplished performers and skilled manipulators of their ain bodies. It is thus not and so much an absence of skill or hostility toward tradition that defines conceptual art equally an axiomatic condone for conventional, modern notions of authorial presence and of individual creative expression.^{[ citation needed ]}

Gimmicky influence [edit]

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

Contemporary artists take taken up 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 fine art, performance art, net.art and electronic/digital fine art.^[23] ^{[ need quotation to verify ]}

Notable examples [edit]

1913 : Wheel Wheel (Roue de bicyclette) by Marcel Duchamp. Assisted readymade. Bicycle bike mounted past its fork on a painted wooden stool. The first readymade, even though he did not have the idea for readymades until two years later. The original was lost. Besides, recognized as the first kinetic sculpture.^[24]
1914 : Chemist's shop (Pharmacie) by Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with bare trees and a winding stream to which he added 2 circles, red and greenish.
1914 : Canteen Rack (as well 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 made" sculpture, merely it gathered dust in the corner of his Paris studio. 2 years after in 1916, in correspondence from New York with his sister, Suzanne Duchamp in France, he expresses a desire to brand information technology a readymade. Suzanne, looking subsequently his Paris studio, has already tending of it.
1915 : In Accelerate of the Broken Arm (En prévision du bras cassé) by Marcel Duchamp. Readymade. Snow shovel on which Duchamp carefully painted its title. The first slice the creative person officially called a "readymade".
1915 : Pulled at 4 pins by Marcel Duchamp. Readymade. An unpainted chimney ventilator that turns in the wind. Duchamp liked that the literal translation meant zippo in English and had no relation to the object.
1916 : With Subconscious Noise (A bruit secret) by Marcel Duchamp. Assisted readymade. A ball of twine between ii brass plates, joined by four screws. An unknown object has been placed in the ball of twine by Duchamp'south friend, Walter Arensberg.
1916 : Rummage (Peigne) by Marcel Duchamp. Readymade. Steel domestic dog grooming comb inscribed forth the border.
1917 : Traveller's Folding Item (...pliant,... de voyage) by Marcel Duchamp. Readymade. Underwood Typewriter cover.
1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An contradistinct Sapolin pigment advertisement.
1917 : Fountain by Marcel Duchamp, described in an commodity in The Contained every bit the invention of conceptual art. Information technology is likewise an early example of an Institutional Critique^[25]
1917 : 'Trap (Trébuchet) by 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 : L.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, by Marcel Duchamp. Assisted readymade. Duchamp instructed his sister Suzanne to hang a geometry textbook from the balustrade of her Paris apartment. Suzanne carried out the instructions and painted a film of the result.
1919 : l cc of Paris Air (fifty 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 Metropolis in 1920 and gave it to Walter Arensberg equally a gift.
1920 : Fresh Widow past Marcel Duchamp. Readymade. An contradistinct 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 small bird cage.
1921 : Belle Haleine, Eau de Voilette by Marcel Duchamp. Assisted readymade. An altered perfume bottle in the original box.^[28]
1921 : The Brawl at Austerlitz past Marcel Duchamp. Readymade. Like Fresh Widow, made past a carpenter co-ordinate to Duchamp'due south specifications.
1923 : Wanted, $two,000 Advantage past Marcel Duchamp. Rectified readymade. Photographic collage on poster.
1952 : The premiere of American experimental composer John Muzzle's work, 4′33″, a three-motility composition, performed past pianist David Tudor on Baronial 29, 1952, in Maverick Concert Hall, Woodstock, New York, as part of a recital of gimmicky piano music.^[29] Information technology is unremarkably perceived equally "four minutes thirty-three seconds of silence".
1953 : Robert Rauschenberg produces Erased De Kooning Drawing, a drawing by Willem de Kooning which Rauschenberg erased. It raised many questions about the cardinal nature of fine art, challenging the viewer to consider whether erasing some other creative person's piece of work could be a creative act, besides as whether the work was simply "art" because the famous Rauschenberg had washed information technology.
1955 : Rhea Sue Sanders creates her kickoff text pieces of the serial pièces de complices, combining visual art with verse and philosophy, and introducing the concept of complicity: the viewer must attain the art in her/his imagination.^[30]
1956 : Isidore Isou introduces the concept of infinitesimal art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics).
1957: Yves Klein, Aerostatic Sculpture (Paris), equanimous of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Bluish Epoch exhibition. Klein besides exhibited Ane Minute Burn Painting, which was a blue console into which xvi firecrackers were set up. For his next major exhibition, The Void in 1958, Klein alleged that his paintings were now invisible – and to prove it he exhibited an empty room.
1958: George Brecht invents the Issue Score ^[31] which would become a central feature of Fluxus. Brecht, Dick Higgins, Allan Kaprow, Al Hansen, Jackson MacLow and others studied with John Cage between 1958 and 1959 at the New School leading directly to the cosmos of Happenings, Fluxus and Henry Flynt'southward concept fine art. Upshot Scores are elementary 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 commencement Happening in Europe.^[32]
1960: Yves Klein's action called A Jump Into The Void, in which he attempts to fly past 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'south Shit, tins purportedly containing his ain carrion (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on auction for their own weight in gold. He besides sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). Marcel Broodthaers and Primo Levi are amidst the designated "artworks".
1962: Artist Barrie Bates rebrands himself as Billy Apple, erasing his original identity to go on his exploration of everyday life and commerce as art. By this stage, many of his works are made by tertiary parties.^[33]
1962: Christo'south Fe Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which caused a large traffic jam. The artwork was non the barricade itself simply the resulting traffic jam.
1962: Yves Klein presents Immaterial Pictorial Sensitivity in diverse ceremonies on the banks of the Seine. He offers to sell his ain "pictorial sensitivity" (whatever that was – he did not define it) in commutation for gold foliage. In these ceremonies the purchaser gave Klein the gilded leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was and then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.)
1962: Piero Manzoni created The Base of the Globe, thereby exhibiting the entire planet as his artwork.
1962: Alberto Greco began his Vivo Dito or Live Art serial, which took identify in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attending 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'south drove of Event-Scores, Water Yam, is published as the first 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 Art is published in An Anthology of Run a risk Operations; a collection of artworks and concepts by artists and musicians that was published past Jackson Mac Low and La Monte Young (ed.). An Album of Gamble 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 fine art" devolved from his idea of "cognitive nihilism" and from his insights virtually the vulnerabilities of logic and mathematics.
1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings, an instance of heuristic art, or a series of instructions for how to obtain an aesthetic feel.
1965: Fine art & Language founder Michael Baldwin's Mirror Piece. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and Cloudless Greenberg'southward theory.^[35]
1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest confronting the values of Cloudless Greenberg's 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 and so fired from his part-fourth dimension position.
1965: with Evidence 5, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual fine art in kingdom of the netherlands. In the show, various air doors are placed where people tin can walk through them. People take the sensory experience of warmth, air. Three invisible air doors, which arise as currents of 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 conduct of persons in that space, and who are included in the system as co-performers.
Joseph Kosuth dates the concept of I and 3 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 dictionary. Iv versions with different definitions are known.
1966: Conceived in 1966 The Air Conditioning Show of Art & Language is published equally an article in 1967 in the November consequence of Arts Magazine.^[36]
1966: N.E. Matter Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Identify, the contents of a 4-room apartment wrapped in plastic bags. The aforementioned twelvemonth they registered as a corporation and afterwards organized their practice forth corporate models, one of the first international examples of the "artful of administration".
1967: Mel Ramsden's first 100% Abstract Paintings. The painting shows a listing of chemical components that constitutes the substance of the painting.^[37]
1967: Sol LeWitt's Paragraphs on Conceptual Fine art were published by the American art journal Artforum. The Paragraphs marking the progression from Minimal to Conceptual Art.
1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language.^[38]
1968: Lawrence Weiner relinquishes the physical making of his piece of work and formulates his "Announcement of Intent", one of the about important conceptual art statements following LeWitt's "Paragraphs on Conceptual Art". The declaration, 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 being equal and consistent with the intent of the artist the decision every bit to status rests with the receiver upon the occasion of receivership."
Friedrich Heubach launches the mag Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. It originally showed a Fluxus influence, but later moved toward conceptual art.
1969: The start generation of New York alternative exhibition spaces are established, including Baton Apple'due south Apple, Robert Newman's Proceeds Ground, where Vito Acconci produced many important early works, and 112 Greene Street.^[33] ^[39]
1969: Robert Barry'due south Telepathic Piece at Simon Fraser University, Vancouver, of which he said "During the exhibition I volition try to communicate telepathically a piece of work of fine art, the nature of which is a series of thoughts that are not applicable to language or image."
1969: The start issue of Fine art-Language: The Periodical of conceptual art is published in May, edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Fine art & Language are the editors of this first number, and by the second number Joseph Kosuth joins and serves every bit 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 space. The piece is presented as photographs.
The English periodical Studio International publishes Joseph Kosuth´s article "Art after Philosophy" in three parts (October–December). Information technology became the most discussed article on conceptual art.
1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Language.^[38]
1970: Painter John Baldessari exhibits a moving picture in which he sets a 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 series of photographs taken every two minutes while driving along a route for 24 minutes.
1970: Douglas Huebler asks museum visitors to write downward 'one authentic underground'. The resulting 1800 documents are compiled into a volume which, past some accounts, makes for very repetitive reading as most secrets are similar.
1971: Hans Haacke'southward Real Time Social Organisation. This piece of systems fine art detailed the real estate holdings of the tertiary largest landowners in New York Urban center. The properties, mostly in Harlem and the Lower 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 diverse fiscal details about the buildings, including recent sales between companies endemic or controlled past 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 fine art museum organism". In that location is no evidence to propose that the trustees of the Guggenheim were linked financially to the family which was the subject of the work.
1972: The Art & Language Establish exhibits Index 01 at the Documenta 5, an installation indexing text-works by Art & Language and text-works from Fine art-Language.
1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his piece of work: Aquinocabeelarte (Art does non fit here), where each of the letters is a split up poster, and nether each alphabetic character is written the name of some victim of country repression.
1972: Fred Wood buys an area of bare space in the newspaper Le Monde and invites readers to fill it with their ain works of art.
General Thought 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 nigh Amarillo, Texas.
1975–76: Three issues of the journal The Fob were published past Fine art & Linguistic communication in New York. The editor was Joseph Kosuth. The Fox became an important platform for the American members of Art & Linguistic communication. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote manufactures which thematized the context of contemporary art. These articles exemplify the evolution of an institutional critique within the inner circle of conceptual fine art. The criticism of the art world integrates social, political and economic reasons.
1975–77 Orshi Drozdik's Private Mythology functioning, photography and offsetprint series and her theory of ImageBank in Budapest.
1976: facing internal bug, members of Art & Linguistic communication separate. The destiny of the name Art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
1977: Walter De Maria's Vertical World Kilometer in Kassel, Deutschland. This was a one kilometer brass rod which was sunk into the earth and so that zippo remained visible except a few centimeters. Despite its size, therefore, this work exists more often than not in the viewer's mind.
1982: The opera Victorine by Art & Linguistic communication was to be performed in the urban center of Kassel for documenta 7 and shown alongside Art & Language Studio at three Wesley Place Painted by Actors, but 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 Academy, chosen co-ordinate to a listing of the 30-half-dozen countries in which political disappearances were known to have taken place during the yr 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 Art.^[41]
1991: Ronald Jones exhibits objects and text, art, history and scientific discipline rooted in grim political reality at Metro Pictures Gallery.^[42]
1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical Impossibility of Death in the 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 see.^[43]
1993: Matthieu Laurette established his artistic nascence document past 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 creative person'. Laurette had sent out invitations to an art audition to view the show on Tv set from their homes, turning his staging of the artist into a performed reality.
1993: Vanessa Beecroft holds her showtime performance in Milan, Italia, using models to act as a second audience to the display of her diary of nutrient.
1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed, surrounded by detritus such as condoms, 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 Middle of Contemporary Art, Seattle, WA Flesh Tone #ane: Skinned, a collaborative self-portrait where she asked pigment mixers from local hardware stores to create house pigment to match various parts of her body, while recording the interactions.^[45]
2004: Andrea Fraser'due south video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to help finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 piece of work Don't Postpone Joy, or Collecting Can Be Fun, a 27-page transcript of an interview with a collector in which the majority of the text has been deleted.
2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated downward 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'south Ballhausplatz after winning an international competition. The inscription on elevation of the three-step sculpture features a poem 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 (built-in 1959)
Francis Alÿs (born 1959)
Keith Arnatt (1930–2008)
Art & Language
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 (born 1972)
Abel Azcona (born 1988)
John Baldessari (1931–2020)
Adina Bar-On (born 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 (born 1938)
Victor Burgin (born 1941)
Donald Burgy (born 1937)
Maris Bustamante (built-in 1949)
John Muzzle (1912–1992)
Cai Guo-Qiang (born 1957)
Sophie Calle (built-in 1953)
Graciela Carnevale (born 1942)
Roberto Chabet (1937–2013)
Greg Colson (born 1956)
Martin Creed (born 1968)
Cory Danziger (built-in 1977)
Jack Daws (built-in 1970)
Jeremy Deller (born 1966)
Agnes Denes (born 1938)
January Dibbets (built-in 1941)
Marker Divo (born 1966)
Brad Downey (born 1980)
Marcel Duchamp (1887–1968)
Olafur Eliasson (built-in 1967)
Noemí Escandell (1942–2019)
Ken Feingold (built-in 1952)
Teresita Fernández (born 1968)
Fluxus
Henry Flynt (born 1940)
Andrea Fraser (born 1965)
Jens Galschiøt (born 1954)
Kendell Geers
Thierry Geoffroy (built-in 1961)
Jochen Gerz (born 1940)
Gilbert and George Gilbert (born 1943) George (born 1942)
Manav Gupta (built-in 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)
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 (born 1956)
John Latham (1921–2006)
Matthieu Laurette (built-in 1970)
Sol LeWitt (1928–2007)
Annette Lemieux (born 1957)
Elliott Linwood (born 1956)
Noah Lyon (born 1979)
Richard Long (born 1945)
Mark Lombardi (1951–2000)
George Maciunas (1931–1978)
Teresa Margolles (born 1963)
María Evelia Marmolejo (born 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)
N.E. Thing Co. Ltd. (Iain & Ingrid Baxter) Iain (born 1936) Ingrid (born 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 (built-in 1948)
William Pope.50 (born 1955)
Liliana Porter (born 1941)
Dmitri Prigov (1940–2007)
Guillem Ramos-Poquí (built-in 1944)
Charles Recher (1950–2017)
Jim Ricks (born 1973)
Lotty Rosenfeld (1943–2020)
Martha Rosler (born 1943)
Allen Ruppersberg (built-in 1944)
Santiago Sierra (built-in 1966)
Bodo Sperling (built-in 1952)
Stelarc (born 1946)
Chiliad. Vänçi Stirnemann (born 1951)
Hiroshi Sugimoto (built-in 1948)
Stephanie Syjuco (born 1974)
Hakan Topal (built-in 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)
Marker Wallinger (born 1959)
Gillian Wearing (born 1963)
Peter Weibel (born 1945)
Lawrence Weiner (born 1942)
Roger Welch (built-in 1946)
Christopher Williams (born 1956)
xurban collective
Industry of the Ordinary
Arne Quinze (born 1971)

References [edit]

^ "Wall Cartoon 811 – Sol LeWitt". Archived from the original on 2 March 2007.
^ Sol LeWitt "Paragraphs on Conceptual Art", Artforum, June 1967.
^ Godrey, Tony (1988). Conceptual Art (Art & Ideas). London: Phaidon Press Ltd. ISBN978-0-7148-3388-0.
^ Joseph Kosuth, Art Afterward Philosophy (1969). Reprinted in Peter Osborne, Conceptual Fine art: Themes and Movements, Phaidon, London, 2002. p. 232
^ Fine art & Linguistic communication, 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.1000. "The outcome of much of the 'conceptual' work of the past two years has been to carefully clear the air of objects."
^ "Turner Prize history: Conceptual art". Tate Gallery. tate.org.uk. Accessed August 8, 2006
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^ "The Crystallization of Concept Art in 1961". world wide web.henryflynt.org.
^ Henry Flynt, "Concept-Art (1962)", Translated and introduced past Nicolas Feuillie, Les presses du réel, Avant-gardes, Dijon.
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^ Anne Rorimer, New Art in the Sixties and Seventies, Thames & Hudson, 2001; p. 71
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^ Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28
^ Osborne (2002), p. 28
^ http://www.fondazioneratti.org/mat/mostre/Gimmicky%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf^{[ dead link ]}
^ Conceptual Fine art – "In 1967, Sol LeWitt published Paragraphs on Conceptual Art (considered by many to be the movement's manifesto) [...]."
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^ Kristine Stiles & Peter Selz, Theories and Documents of Gimmicky Fine art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 333
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External links [edit]

sanborndayer1966.blogspot.com

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

In Conceptual Art What Takes the Place of the Art Object?

Precursors [edit]

Origins [edit]

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

Language and/every bit art [edit]

Conceptual art and artistic skill [edit]

Gimmicky influence [edit]

Notable examples [edit]

Notable conceptual artists [edit]

See also [edit]

Individual works [edit]

References [edit]

Further reading [edit]

External links [edit]

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