The Art of Josef Kosuth Examined the Conceptual Relationship Between Visual Images and

Art movement

Conceptual art, as well referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the piece of work take precedence over traditional aesthetic, technical, and fabric concerns. Some works of conceptual art, sometimes chosen installations, may be constructed by anyone simply by following a ready of written instructions.^[1] This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the start to appear in print:

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

Tony Godfrey, author of Conceptual Art (Art & Ideas) (1998), asserts that conceptual fine art questions the nature of fine art,^[3] a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Art afterward Philosophy (1969). The notion that art should examine its ain nature was already a strong aspect of the influential art critic Cloudless Greenberg'due south vision of Mod 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 radical interrogation of art than was previously possible (encounter below). One of the first and near of import things they questioned was the mutual supposition that the function of the artist was to create special kinds of material objects.^[4] ^[5] ^[6]

Through its clan with the Immature British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the United Kingdom, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture.^[7] One of the reasons why the term "conceptual fine art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. Every bit the artist Mel Bochner suggested as early on as 1970, in explaining why he does not like the epithet "conceptual", information technology is non always entirely articulate what "concept" refers to, and information technology runs the chance of beingness confused with "intention". Thus, in describing or defining a work of fine art every bit conceptual it is important non to misfile what is referred to as "conceptual" with an artist'southward "intention".

Precursors [edit]

The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance. The most famous of Duchamp's readymades was Fountain (1917), a standard urinal-basin signed by the creative person with the pseudonym "R.Mutt", and submitted for inclusion in the almanac, un-juried exhibition of the Society of Contained Artists in New York (which rejected it).^[8] The artistic tradition does not see a commonplace object (such as a urinal) as art considering information technology is not fabricated by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was afterwards acknowledged by United states artist Joseph Kosuth in his 1969 essay, Fine art after Philosophy, when he wrote: "All art (later on Duchamp) is conceptual (in nature) because fine art only exists conceptually".

In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of fine art which, by its very nature, could never be created in reality, simply which could nevertheless provide aesthetic rewards by being contemplated intellectually. This concept, also chosen Art esthapériste (or "infinite-aesthetics"), derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could non actually be except conceptually. The current incarnation (As of 2013^[update]) of the Isouian movement, Excoördism, self-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 begetting the same proper name which appeared in the proto-Fluxus publication An Anthology of Run a risk 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. Cartoon on the syntax of logic and mathematics, concept fine art was meant jointly to supervene upon mathematics and the formalistic music then current in serious art music circles.^[10] Therefore, Flynt maintained, to merit the label concept fine art, a piece of work had to be a critique of logic or mathematics in which a linguistic concept was the material, a quality which is absent-minded from subsequent "conceptual art".^[eleven]

The term assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Fine art-Linguistic communication: The Journal of Conceptual 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 end. In 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-fine art exhibition, took place at the New York Cultural Eye.^[12]

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

Conceptual art emerged every bit a move during the 1960s – in office every bit a reaction against formalism equally then articulated by the influential New York art critic Cloudless Greenberg. Co-ordinate to Greenberg Modern art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and nada else. As it is of the nature of paintings to be apartment objects with sheet surfaces onto which colored pigment is applied, such things every bit figuration, 3-D perspective illusion and references to external field of study matter were all institute to be inapplicable to the essence of painting, and ought to be removed.^[13]

Some have argued that conceptual fine art connected this "dematerialization" of art by removing the need for objects altogether,^[14] while others, including many of the artists themselves, saw conceptual fine art as a radical pause with Greenberg's kind of formalist Modernism. Subsequently artists continued to share a preference for art to be cocky-critical, as well as a distaste for illusion. However, by the terminate of the 1960s it was certainly clear that Greenberg's stipulations for art to continue within the confines of each medium and to exclude external discipline matter no longer held traction.^[xv] Conceptual fine art as well reacted against the commodification of art; information technology attempted a subversion of the gallery or museum as the location and determiner of art, and the art marketplace as the owner and distributor of art. Lawrence Weiner said: "Once you know well-nigh a piece of work of mine you ain information technology. There'due south no manner I can climb inside somebody's head and remove it." Many conceptual artists' piece of work can therefore only be known nearly through documentation which is manifested by it, e.g., photographs, written texts or displayed objects, which some might fence are non in and of themselves the fine art. It is sometimes (as in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions describing a work, but stopping short of actually making information technology—emphasising the idea as more important than the antiquity. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and craft, where art, unlike craft, takes place within and engages historical discourse: for example, Ono's "written instructions" make more than sense alongside other conceptual fine art of the time.

Lawrence Weiner. $.25 & Pieces Put Together to Nowadays a Semblance of a Whole, The Walker Art Eye, Minneapolis, 2005.

Language and/every bit fine art [edit]

Linguistic communication was a central business organization for the starting time moving ridge of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, merely in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[sixteen] Joseph Kosuth, Robert Barry, and Fine art & Language brainstorm to produce art by exclusively linguistic means. Where previously linguistic communication was presented equally ane kind of visual element alongside others, and subordinate to an overarching limerick (e.g. Synthetic Cubism), the conceptual artists used language in identify of brush and canvass, and immune it to signify in its own right.^[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, yet separate, roles."^[eighteen]

The British philosopher and theorist of conceptual art Peter Osborne suggests that among the many factors that influenced the gravitation toward language-based art, a key 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 middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction the conceptual artists took.^[19] Osborne also notes that the early conceptualists were the showtime generation of artists to complete caste-based university grooming in art.^[20] Osborne later on made the ascertainment that contemporary fine art is post-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 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 meaning intersections between conceptual art and fine art-and-applied science, exploding the conventional autonomy of these art-historical categories." Ascott, the British creative person nearly closely associated with cybernetic art in England, was non included in Cybernetic Serendipity considering his use of cybernetics was primarily conceptual and did non explicitly utilize engineering science. Conversely, although his essay on the awarding of cybernetics to art and art pedagogy, "The Structure of Alter" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard'due south seminal Half-dozen Years: The Dematerialization of the Art Object from 1966 to 1972, Ascott's apprehension of and contribution to the formation of conceptual art in United kingdom has received scant recognition, perhaps (and ironically) considering his work was too closely allied with art-and-technology. Another vital intersection was explored in Ascott's employ of the thesaurus in 1963 telematic connections:: timeline, which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept would be taken upwardly in Joseph Kosuth'southward Second Investigation, Suggestion ane (1968) and Mel Ramsden's Elements of an Incomplete Map (1968).

Conceptual art and artistic skill [edit]

By adopting language as their exclusive 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.^[xviii]

An of import difference between conceptual art and more than "traditional" forms of art-making goes to the question of creative skill. Although skill in the handling of traditional media often plays little role in conceptual art, information technology is difficult to argue that no skill is required to make conceptual works, or that skill is always absent-minded from them. John Baldessari, for instance, has presented realist pictures that he commissioned professional sign-writers to pigment; and many conceptual performance artists (e.yard. Stelarc, Marina Abramović) are technically accomplished performers and skilled manipulators of their own bodies. It is thus non and then much an absence of skill or hostility toward tradition that defines conceptual art every bit an evident disregard for conventional, modern notions of authorial presence and of private artistic expression.^{[ commendation needed ]}

Contemporary influence [edit]

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

Contemporary artists have taken upwards many of the concerns of the conceptual art movement, while they may or may not term themselves "conceptual artists". Ideas such as anti-commodification, social and/or political critique, and ideas/information equally medium go on to be aspects of gimmicky fine art, peculiarly among artists working with installation fine art, performance art, net.art and electronic/digital art.^[23] ^{[ demand quotation to verify ]}

Notable examples [edit]

1913 : Wheel Bike (Roue de bicyclette) past Marcel Duchamp. Assisted readymade. Wheel bike mounted by its fork on a painted wooden stool. The get-go readymade, even though he did not have the idea for readymades until two years later. The original was lost. Too, recognized every bit the first kinetic sculpture.^[24]
1914 : Pharmacy (Pharmacie) by Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with bare copse and a winding stream to which he added two circles, red and green.
1914 : Bottle Rack (also called Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson) by Marcel Duchamp. Readymade. A galvanized fe bottle drying rack that Duchamp bought equally an "already made" sculpture, just it gathered grit in the corner of his Paris studio. 2 years later in 1916, in correspondence from New York with his sister, Suzanne Duchamp in French republic, he expresses a desire to go far a readymade. Suzanne, looking afterward his Paris studio, has already disposed of it.
1915 : In Advance of the Broken Arm (En prévision du bras cassé) past Marcel Duchamp. Readymade. Snowfall shovel on which Duchamp advisedly painted its championship. The starting time piece the artist officially chosen a "readymade".
1915 : Pulled at 4 pins by Marcel Duchamp. Readymade. An unpainted chimney ventilator that turns in the current of air. Duchamp liked that the literal translation meant nothing in English and had no relation to the object.
1916 : With Hidden Noise (A bruit secret) past Marcel Duchamp. Assisted readymade. A ball of twine between two brass plates, joined past four screws. An unknown object has been placed in the ball of twine by Duchamp's friend, Walter Arensberg.
1916 : Rummage (Peigne) by Marcel Duchamp. Readymade. Steel dog preparation comb inscribed along the border.
1917 : Traveller's Folding Particular (...pliant,... de voyage) past Marcel Duchamp. Readymade. Underwood Typewriter cover.
1916–17 : Apolinère Enameled, 1916–1917. Rectified readymade. An altered Sapolin paint advertisement.
1917 : Fountain by Marcel Duchamp, described in an article in The Contained as the invention of conceptual art. It is also an early instance of an Institutional Critique^[25]
1917 : 'Trap (Trébuchet) by Marcel Duchamp. Readymade. Wood and metal coatrack fastened to floor.
1917 : Hat Rack (Porte-chapeaux), c. 1917, past Marcel Duchamp. Readymade. A wooden hatrack.^[26]
1919 : L.H.O.O.Q. past Marcel Duchamp. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci'due south Mona Lisa on which he drew a goatee and moustache titled with a coarse pun.^[27]
1919 : Unhappy readymade, by Marcel Duchamp. Assisted readymade. Duchamp instructed his sis Suzanne to hang a geometry textbook from the balcony of her Paris apartment. Suzanne carried out the instructions and painted a picture of the result.
1919 : 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 as a gift.
1920 : Fresh Widow by Marcel Duchamp. Readymade. An altered French window creating a pun.
1921 : Why Non Sneeze, Rose Sélavy? by Marcel Duchamp. Assisted readymade. Marble cubes in the shape of sugar lumps with a thermometer and cuttle bones in a pocket-sized 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'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 piece of work, four′33″, a three-motility composition, performed by pianist David Tudor on Baronial 29, 1952, in Maverick Concert Hall, Woodstock, New York, equally function of a recital of contemporary piano music.^[29] It is commonly perceived as "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 fundamental nature of art, challenging the viewer to consider whether erasing another artist's piece of work could be a creative human activity, as well as whether the work was only "fine art" because the famous Rauschenberg had done it.
1955 : Rhea Sue Sanders creates her offset text pieces of the series pièces de complices, combining visual art with verse and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.^[30]
1956 : Isidore Isou introduces the concept of infinitesimal fine art in Introduction à une esthétique imaginaire (Introduction to Imaginary Aesthetics).
1957: Yves Klein, Aerostatic Sculpture (Paris), composed of 1001 bluish balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Blue Epoch exhibition. Klein also exhibited I Infinitesimal Fire Painting, which was a blueish panel into which 16 firecrackers were set. For his next major exhibition, The Void in 1958, Klein declared that his paintings were at present invisible – and to prove it he exhibited an empty room.
1958: George Brecht invents the Event Score ^[31] which would go a central feature of Fluxus. Brecht, Dick Higgins, Allan Kaprow, Al Hansen, Jackson MacLow and others studied with John Cage betwixt 1958 and 1959 at the New Schoolhouse leading directly to the creation of Happenings, Fluxus and Henry Flynt'south concept art. Event Scores are simple instructions to consummate 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 action called A Spring Into The Void, in which he attempts to wing by leaping out of a window. He stated: "The painter has only to create one masterpiece, himself, constantly."
1960: The artist Stanley Brouwn declares that all the shoe shops in Amsterdam constitute an exhibition of his piece of work.
1961: Wolf Vostell Cityrama, in Cologne – the outset 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 Creative person's Shit, tins purportedly containing his own feces (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gilded. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of art either for all 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 tree, erasing his original identity to keep his exploration of everyday life and commerce as art. By this phase, many of his works are made by 3rd parties.^[33]
1962: Christo's Iron Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which caused a big traffic jam. The artwork was not the barricade itself merely 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 own "pictorial sensitivity" (whatever that was – he did not define it) in commutation for gilt leaf. In these ceremonies the purchaser gave Klein the gold leafage in return for a document. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw one-half the gilt foliage into the Seine. (At that place were seven purchasers.)
1962: Piero Manzoni created The Base of the World, thereby exhibiting the unabridged planet as his artwork.
1962: Alberto Greco began his Vivo Dito or Live Art series, which took identify in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco chosen attention to the fine art in everyday life, thereby asserting that art was really a process of looking and seeing.
1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with George Maciunas, Wolf Vostell, Nam June Paik and others.^[34]
1963: George Brecht's drove of Event-Scores, H2o Yam, is published equally the starting time Fluxkit past George Maciunas.
1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
1963: Henry Flynt's commodity Concept Fine art is published in An Album of Chance Operations; a drove of artworks and concepts by artists and musicians that was published by Jackson Mac Low and La Monte Young (ed.). An Anthology of Chance Operations documented the development of Dick Higgins'southward vision of intermedia art in the context of the ideas of John Cage, and became an early pre-Fluxus masterpiece. Flynt's "concept fine art" devolved from his idea of "cognitive nihilism" and from his insights well-nigh the vulnerabilities of logic and mathematics.
1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings, an example of heuristic art, or a series of instructions for how to obtain an aesthetic experience.
1965: 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 Clement Greenberg'due south theory.^[35]
1965: A complex conceptual fine art piece by John Latham chosen Still and Chew. He invites art students to protest confronting the values of Clement Greenberg's Art and Culture, much praised and taught at Saint Martin's School of Art in London, where Latham taught office-fourth dimension. 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 then fired from his part-time position.
1965: with Show 5, immaterial sculpture the Dutch artist Marinus Boezem introduced conceptual art in the Netherlands. In the show, various air doors are placed where people can walk through them. People take the sensory experience of warmth, air. Three invisible air doors, which arise as currents of cold and warm are blown into the room, are indicated in the space with bundles of arrows and lines. The joint of the infinite 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 Ane and Three Chairs to the year 1965. The presentation of the work consists of a chair, its photograph, and an enlargement of a definition of the give-and-take "chair". Kosuth chose the definition from a lexicon. Four versions with different definitions are known.
1966: Conceived in 1966 The Air Conditioning Show of Fine art & Linguistic communication is published as an commodity in 1967 in the November issue of Arts Magazine.^[36]
1966: N.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Identify, the contents of a iv-room apartment wrapped in plastic numberless. The aforementioned year they registered equally a corporation and later on organized their practice along 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 chemical components that constitutes the substance of the painting.^[37]
1967: Sol LeWitt'due south Paragraphs on Conceptual Art were published by the American art journal Artforum. The Paragraphs marker the progression from Minimal to Conceptual Art.
1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language.^[38]
1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent", 1 of the most important conceptual art statements post-obit LeWitt's "Paragraphs on Conceptual Fine art". The announcement, which underscores his subsequent practice, reads: "one. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece demand not exist built. Each being equal and consistent with the intent of the creative person the determination as to condition rests with the receiver upon the occasion of receivership."
Friedrich Heubach launches the mag Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. It originally showed a Fluxus influence, but subsequently moved toward conceptual art.
1969: The get-go generation of New York alternative exhibition spaces are established, including Billy Apple's Apple, Robert Newman's Gain Ground, where Vito Acconci produced many important early works, and 112 Greene Street.^[33] ^[39]
1969: Robert Barry'south Telepathic Slice at Simon Fraser Academy, Vancouver, of which he said "During the exhibition I volition attempt to communicate telepathically a work of art, the nature of which is a series of thoughts that are non applicable to language or image."
1969: The first issue of Fine art-Linguistic communication: The Periodical of conceptual art is published in May, edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Linguistic communication are the editors of this start number, and by the second number Joseph Kosuth joins and serves as American editor until 1972.
1969: Vito Acconci creates Following Slice, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented as photographs.
The English journal Studio International publishes Joseph Kosuth´due south article "Fine art subsequently Philosophy" in three parts (Oct–December). It became the nigh discussed article on conceptual art.
1970: Ian Burn, Mel Ramsden and Charles Harrison join Fine art & Language.^[38]
1970: Painter John Baldessari exhibits a film in which he sets a series of erudite statements by Sol LeWitt on the discipline of conceptual art to pop tunes similar "Camptown Races" and "Some Enchanted Evening".
1970: Douglas Huebler exhibits a series of photographs taken every ii minutes while driving forth a road for 24 minutes.
1970: Douglas Huebler asks museum visitors to write down 'one authentic cloak-and-dagger'. The resulting 1800 documents are compiled into a book which, by some accounts, makes for very repetitive reading as almost secrets are like.
1971: Hans Haacke's Real Time Social System. This slice of systems art detailed the real estate holdings of the third largest landowners in New York City. The properties, mostly in Harlem and the Lower East Side, were decrepit and poorly maintained, and represented the largest concentration of real estate in those areas under the control of a single group. The captions gave various financial details about the buildings, including recent sales between companies owned or controlled past the same family. The Guggenheim museum cancelled the exhibition, stating that the overt political implications of the work constituted "an conflicting substance that had entered the art museum organism". At that place is no evidence to suggest that the trustees of the Guggenheim were linked financially to the family unit which was the subject of the work.
1972: The Art & Language Institute exhibits Index 01 at the Documenta 5, an installation indexing text-works past Art & Language and text-works from Art-Language.
1972: Antonio Caro exhibits in the National Art Salon (Museo Nacional, Bogotá, Colombia) his work: Aquinocabeelarte (Fine art does not fit here), where each of the letters is a separate poster, and under each letter is written the name of some victim of state repression.
1972: Fred Woods buys an area of bare infinite in the newspaper Le Monde and invites readers to fill information technology with their ain works of fine art.
General Idea launch File magazine in Toronto. The magazine functioned as something of an extended, collaborative artwork.
1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for nature to create art.
1974: Cadillac Ranch near Amarillo, Texas.
1975–76: Iii issues of the journal The Play tricks were published past Art & Linguistic communication in New York. The editor was Joseph Kosuth. The Play a trick on became an important platform for the American members of Fine art & Language. Karl Beveridge, Ian Burn, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote articles which thematized the context of gimmicky fine art. These articles exemplify the evolution of an institutional critique inside the inner circle of conceptual art. The criticism of the fine art world integrates social, political and economic reasons.
1975–77 Orshi Drozdik's Individual Mythology functioning, photography and offsetprint series and her theory of ImageBank in Budapest.
1976: facing internal problems, members of Art & Language split. The destiny of the proper name Art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
1977: Walter De Maria's Vertical Globe Kilometer in Kassel, Germany. This was a i kilometer brass rod which was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer'south mind.
1982: The opera Victorine by Art & Language was to exist performed in the city of Kassel for documenta 7 and shown alongside Fine art & Language Studio at 3 Wesley Place Painted by Actors, just the performance was cancelled.^[40]
1986: Art & Language are nominated for the Turner Prize.
1989: Christopher Williams' Angola to Vietnam is start exhibited. The work consists of a series of black-and-white photographs of drinking glass botanical specimens from the Botanical Museum at Harvard University, chosen according 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 Matter: Concept and Object" exhibition of "3rd 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 Concrete 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 advertizing infinitum to generate inexhaustible flows of random images which nobody would come across.^[43]
1993: Matthieu Laurette established his artistic birth certificate by taking role in a French TV game chosen Tournez manège (The Dating Game) where the female person 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 bear witness on TV from their homes, turning his staging of the creative person into a performed reality.
1993: Vanessa Beecroft holds her commencement operation in Milan, Italy, using models to act as a 2d audience to the display of her diary of food.
1999: Tracey Emin is nominated for the Turner Prize. Office of her showroom is My Bed, her dishevelled bed, surrounded by detritus such equally condoms, blood-stained knickers, bottles and her sleeping accommodation slippers.
2001: Martin Creed wins the Turner Prize for Work No. 227: The lights going on and off, an empty room in which the lights go along and off.^[44]
2003: damali ayo exhibits at the Middle of Contemporary Art, Seattle, WA Mankind Tone #ane: Skinned, a collaborative cocky-portrait where she asked paint mixers from local hardware stores to create house paint to lucifer diverse parts of her body, while recording the interactions.^[45]
2004: Andrea Fraser's video Untitled, a document of her sexual meet in a hotel room with a collector (the collector having agreed to assistance finance the technical costs for enacting and filming the encounter) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Exist Fun, a 27-folio transcript of an interview with a collector in which the majority of the text has been deleted.
2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.^[46]
2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin.
2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Armed services Justice on Vienna's Ballhausplatz afterward winning an international competition. The inscription on top of the three-footstep sculpture features a poem by Scottish poet Ian Hamilton Finlay (1924–2006) with simply 2 words: all lonely.

Notable conceptual artists [edit]

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

See besides [edit]

Post-conceptualism
Anti-art
Anti-anti-art
Body art
Classificatory disputes virtually art
Conceptual architecture
Gimmicky fine art
Danger music
Experiments in Fine art and Technology
Plant object
Gutai grouping
Happening
Fluxus
Information art
Installation art
Intermedia
State fine art
Mod fine art
Moscow Conceptualists
Neo-conceptual fine art
Olfactory art
Net fine art
Postmodern art
Relational art
Generative Fine art
Street installation
Something Else Press
Systems fine art
Video art
Visual arts
ART/MEDIA

Private works [edit]

Fountain
1 and Three Chairs
The Bride Stripped Bare By Her Bachelors, Even
Mirror Slice
Secret Painting
Victorine

References [edit]

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

External links [edit]

grayseentrusted.blogspot.com

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

The Art of Josef Kosuth Examined the Conceptual Relationship Between Visual Images and

Precursors [edit]

Origins [edit]

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

Language and/every bit fine art [edit]

Conceptual art and artistic skill [edit]

Contemporary influence [edit]

Notable examples [edit]

Notable conceptual artists [edit]

See besides [edit]

Private works [edit]

References [edit]

Further reading [edit]

External links [edit]

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