Alex Alberro Structure as Content Dan Grahams Schema and the Emergence of Conceptual Art

Fine art movement

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

In conceptual art the thought or concept is the most of import aspect of the piece of work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory 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 afterwards 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 fine art during the 1950s. With the emergence of an exclusively language-based 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 most important things they questioned was the common assumption that the part of the artist was to create special kinds of material objects.^{[4] [5] [vi]}

Through its clan with the Young British Artists and the Turner Prize during the 1990s, in popular usage, specially in the Britain, "conceptual art" came to announce all gimmicky 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 gimmicky practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely articulate what "concept" refers to, and it runs the take a chance of existence confused with "intention". Thus, in describing or defining a piece of work of art as conceptual it is important not 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 instance. The virtually famous of Duchamp'southward readymades was Fountain (1917), a standard urinal-basin signed past the creative person with the pseudonym "R.Mutt", and submitted for inclusion in the almanac, un-juried exhibition of the Society of Independent Artists in New York (which rejected it).^[8] The artistic tradition does not see a commonplace object (such as a urinal) equally fine art because it is not made past an artist or with any intention of beingness art, nor is information technology unique or hand-crafted. Duchamp'southward 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 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, but which could notwithstanding provide artful rewards by beingness contemplated intellectually. This concept, also called Fine 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, cocky-defines as the art of the infinitely large and the infinitely minor.

Origins [edit]

In 1961, philosopher and creative person Henry Flynt coined the term "concept art" in an article bearing the aforementioned name which appeared in the proto-Fluxus publication An Anthology of Chance Operations.^[9] Flynt's concept art, he maintained, devolved from his notion of "cognitive 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 so 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 causeless 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 research, that began in Fine art-Language: The Journal of Conceptual Art in 1969, into the artist'due south social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 Conceptual Fine art and Conceptual Aspects, the commencement dedicated conceptual-fine art exhibition, took place at the New York Cultural Centre.^[12]

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

Conceptual art emerged every bit a movement during the 1960s – in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a procedure 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 nothing else. As it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, three-D perspective illusion and references to external subject area thing were all found to be extraneous to the essence of painting, and ought to be removed.^[13]

Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether,^[fourteen] while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg'southward kind of formalist Modernism. Later artists continued to share a preference for fine art to exist self-disquisitional, every bit well equally a distaste for illusion. However, by the end 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 subject matter no longer held traction.^[15] Conceptual fine art as well reacted confronting the commodification of fine art; information technology attempted a subversion of the gallery or museum every bit the location and determiner of art, and the art market as the owner and distributor of art. Lawrence Weiner said: "Once you know nearly a work of mine you own it. In that location's no way I tin climb inside somebody'southward head and remove it." Many conceptual artists' work can therefore merely be known about through documentation which is manifested by it, due east.g., photographs, written texts or displayed objects, which some might argue are not in and of themselves the art. Information technology is sometimes (as in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a ready of written instructions describing a work, but stopping brusk of actually making it—emphasising the thought equally more important than the artifact. 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 soapbox: for instance, Ono's "written instructions" make more sense alongside other conceptual 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/equally art [edit]

Language was a cardinal concern for the offset wave of conceptual artists of the 1960s and early on 1970s. Although the utilisation of text in art was in no mode novel, only in the 1960s did the artists Lawrence Weiner, Edward Ruscha,^[16] Joseph Kosuth, Robert Barry, and Art & Language begin to produce fine art by exclusively linguistic means. Where previously language was presented as 1 kind of visual chemical element aslope others, and subordinate to an overarching composition (east.g. Constructed Cubism), the conceptual artists used language in place of castor and canvas, 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 means and contextual placement play crucial, nonetheless separate, 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 art, a central role for conceptualism came from the turn to linguistic theories of significant 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 outset generation of artists to complete degree-based academy training in art.^[xx] Osborne later made the observation that contemporary fine art is post-conceptual ^[21] in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. It is a claim made at the level of the ontology of the piece of work of art (rather than say at the descriptive level of manner or movement).

The American art historian Edward A. Shanken points to the example of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual art and art-and-engineering science, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the awarding of cybernetics to art and fine art instruction, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard'southward 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 fine art in Britain has received scant recognition, possibly (and ironically) considering his work was too closely allied with fine art-and-engineering. Some other vital intersection was explored in Ascott'south use of the thesaurus in 1963 telematic connections:: timeline, which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept would be taken upwards in Joseph Kosuth's Second Investigation, Proposition 1 (1968) and Mel Ramsden's Elements of an Incomplete Map (1968).

Conceptual art and artistic skill [edit]

Past adopting linguistic communication 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 treatment of materials.^[xviii]

An important difference between conceptual art and more "traditional" forms of fine art-making goes to the question of creative skill. Although skill in the handling of traditional media often plays little function in conceptual art, it is hard to argue that no skill is required to make conceptual works, or that skill is ever absent from them. John Baldessari, for case, has presented realist pictures that he commissioned professional sign-writers to paint; and many conceptual performance artists (e.g. Stelarc, Marina Abramović) are technically achieved performers and skilled manipulators of their ain bodies. It is thus not so much an absence of skill or hostility toward tradition that defines conceptual art as an axiomatic disregard for conventional, mod notions of authorial presence and of individual artistic expression.^{[ citation needed ]}

Gimmicky influence [edit]

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

Gimmicky artists take taken upwards many of the concerns of the conceptual art move, while they may or may not term themselves "conceptual artists". Ideas such equally anti-commodification, social and/or political critique, and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with installation art, performance art, cyberspace.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 wheel mounted by its fork on a painted wooden stool. The starting time readymade, even though he did not accept the idea for readymades until two years afterwards. The original was lost. Likewise, recognized every bit the first kinetic sculpture.^[24]
• 1914 : Chemist's shop (Pharmacie) past Marcel Duchamp. Rectified readymade. Gouache on chromolithograph of a scene with blank trees and a winding stream to which he added two circles, red and green.
• 1914 : Bottle Rack (as well called 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, only it gathered dust in the corner of his Paris studio. 2 years later in 1916, in correspondence from New York with his sis, Suzanne Duchamp in France, he expresses a desire to get in a readymade. Suzanne, looking after his Paris studio, has already tending of it.
• 1915 : In Advance of the Broken Arm (En prévision du bras cassé) past Marcel Duchamp. Readymade. Snow shovel on which Duchamp carefully painted its title. The starting time slice the artist officially chosen a "readymade".
• 1915 : Pulled at iv pins by 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 Noise (A bruit secret) by Marcel Duchamp. Assisted readymade. A ball of twine between two contumely plates, joined by four screws. An unknown object has been placed in the ball of twine by Duchamp's friend, Walter Arensberg.
• 1916 : Comb (Peigne) by Marcel Duchamp. Readymade. Steel dog grooming comb inscribed forth the edge.
• 1917 : Traveller's Folding Detail (...pliant,... de voyage) by 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 Independent every bit the invention of conceptual fine art. It is besides an early on example of an Institutional Critique^[25]
• 1917 : 'Trap (Trébuchet) by Marcel Duchamp. Readymade. Wood and metallic coatrack attached to floor.
• 1917 : Hat Rack (Porte-chapeaux), c. 1917, by Marcel Duchamp. Readymade. A wooden hatrack.^[26]
• 1919 : L.H.O.O.Q. past Marcel Duchamp. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci's Mona Lisa on which he drew a goatee and moustache titled with a coarse pun.^[27]
• 1919 : Unhappy readymade, by Marcel Duchamp. Assisted readymade. Duchamp instructed his sister Suzanne to hang a geometry textbook from the balustrade of her Paris apartment. Suzanne carried out the instructions and painted a motion picture 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 City in 1920 and gave it to Walter Arensberg equally a gift.
• 1920 : Fresh Widow by 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 minor bird cage.
• 1921 : Belle Haleine, Eau de Voilette by Marcel Duchamp. Assisted readymade. An contradistinct perfume bottle in the original box.^[28]
• 1921 : The Ball at Austerlitz past Marcel Duchamp. Readymade. Like Fresh Widow, fabricated past a carpenter according to Duchamp'due south specifications.
• 1923 : Wanted, $ii,000 Reward by Marcel Duchamp. Rectified readymade. Photographic collage on poster.
• 1952 : The premiere of American experimental composer John Muzzle's work, four′33″, a iii-movement composition, performed by pianist David Tudor on August 29, 1952, in Maverick Concert Hall, Woodstock, New York, as part of a recital of contemporary pianoforte music.^[29] Information technology is commonly perceived as "4 minutes thirty-iii seconds of silence".
• 1953 : Robert Rauschenberg produces Erased De Kooning Cartoon, a drawing past 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'southward piece of work could be a artistic act, every bit well as whether the piece of work was only "art" because the famous Rauschenberg had done information technology.
• 1955 : Rhea Sue Sanders creates her offset text pieces of the series pièces de complices, combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the fine art in her/his imagination.^[xxx]
• 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), composed of 1001 blue balloons released into the sky from Galerie Iris Clert to promote his Proposition Monochrome; Blue Epoch exhibition. Klein also exhibited One 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 now 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 between 1958 and 1959 at the New School leading directly to the cosmos of Happenings, Fluxus and Henry Flynt's concept art. Consequence Scores are simple instructions to complete everyday tasks which tin be performed publicly, privately, or not at all.
• 1958: Wolf Vostell Das Theater ist auf der Straße/The theater is on the street. The offset Happening in Europe.^[32]
• 1960: Yves Klein's action called A Jump Into The Void, in which he attempts to fly by leaping out of a window. He stated: "The painter has merely to create one masterpiece, himself, constantly."
• 1960: The creative person Stanley Brouwn declares that all the shoe shops in Amsterdam plant an exhibition of his piece of 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'south 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 auction for their own weight in gold. He also sold his ain jiff (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus declaring them to be living works of fine 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 equally Baton 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 past third parties.^[33]
• 1962: Christo's Iron Curtain work. This consists of a barricade of oil barrels in a narrow Paris street which acquired 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" (whatever that was – he did non ascertain it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the golden foliage in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was and then required to burn the certificate whilst Klein threw one-half the gold leaf into the Seine. (In that location were seven purchasers.)
• 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork.
• 1962: Alberto Greco began his Vivo Dito or Live Art serial, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco chosen attention to the art in everyday life, thereby asserting that fine art was actually a procedure of looking and seeing.
• 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with George Maciunas, Wolf Vostell, Nam June Paik and others.^[34]
• 1963: George Brecht's collection of Effect-Scores, Water Yam, is published as the first Fluxkit past George Maciunas.
• 1963: Festum Fluxorum Fluxus in Düsseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
• 1963: Henry Flynt's article Concept Fine art is published in An Anthology of Chance Operations; a collection of artworks and concepts past artists and musicians that was published by Jackson Mac Low and La Monte Young (ed.). An Anthology of Chance Operations documented the evolution of Dick Higgins'due south 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 near 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 & Linguistic communication founder Michael Baldwin'southward Mirror Slice. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and Clement Greenberg's theory.^[35]
• 1965: A circuitous conceptual fine art piece past John Latham called Still and Chew. He invites fine art students to protestation against the values of Cloudless Greenberg'due south Art and Culture, much praised and taught at Saint Martin's Schoolhouse of Art in London, where Latham taught function-time. Pages of Greenberg'due south book (borrowed from the college library) are chewed by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham was and then fired from his part-fourth dimension position.
• 1965: with Evidence V, immaterial sculpture the Dutch creative person Marinus Boezem introduced conceptual art in the Netherlands. In the evidence, various air doors are placed where people can walk through them. People accept the sensory experience of warmth, air. 3 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 joint of the space that arises is the issue 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 3 Chairs to the year 1965. The presentation of the piece of work consists of a chair, its photo, and an enlargement of a definition of the give-and-take "chair". Kosuth chose the definition from a dictionary. Four versions with dissimilar definitions are known.
• 1966: Conceived in 1966 The Air Conditioning Testify of Fine art & Linguistic communication is published as an article in 1967 in the November issue of Arts Magazine.^[36]
• 1966: Due north.E. Thing Co. Ltd. (Iain and Ingrid Baxter of Vancouver) exhibit Bagged Identify, the contents of a four-room flat wrapped in plastic numberless. The same year they registered equally a corporation and afterward organized their practice along corporate models, one of the offset international examples of the "aesthetic of administration".
• 1967: Mel Ramsden's offset 100% Abstract Paintings. The painting shows a list of chemical components that constitutes the substance of the painting.^[37]
• 1967: Sol LeWitt's Paragraphs on Conceptual Art were published past 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 establish Fine art & Language.^[38]
• 1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent", one of the almost important conceptual fine art statements post-obit LeWitt's "Paragraphs on Conceptual Art". The declaration, which underscores his subsequent practice, reads: "one. The artist may construct the piece. ii. The slice may be fabricated. 3. The piece need not be built. Each existence equal and consistent with the intent of the creative person the decision every bit to condition rests with the receiver upon the occasion of receivership."
• Friedrich Heubach launches the mag Interfunktionen in Cologne, Germany, a publication that excelled in artists' projects. Information technology originally showed a Fluxus influence, but later moved toward conceptual art.
• 1969: The first generation of New York alternative exhibition spaces are established, including Baton Apple'south APPLE, Robert Newman'southward Gain Ground, where Vito Acconci produced many of import early works, and 112 Greene Street.^{[33] [39]}
• 1969: Robert Barry's Telepathic Piece at Simon Fraser University, Vancouver, of which he said "During the exhibition I will try to communicate telepathically a work of art, the nature of which is a series of thoughts that are not applicable to linguistic communication or image."
• 1969: The start upshot of Art-Language: The Journal of conceptual art is published in May, edited by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. Art & Language are the editors of this beginning number, and by the second number Joseph Kosuth joins and serves equally American editor until 1972.
• 1969: Vito Acconci creates Following Piece, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented as photographs.
• The English language journal Studio International publishes Joseph Kosuth´due south article "Fine art later on Philosophy" in three parts (October–December). Information technology became the most discussed article on conceptual fine art.
• 1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Linguistic communication.^[38]
• 1970: Painter John Baldessari exhibits a movie in which he sets a serial of erudite statements past Sol LeWitt on the subject field of conceptual art to pop tunes like "Camptown Races" and "Some Enchanted Evening".
• 1970: Douglas Huebler exhibits a series of photographs taken every 2 minutes while driving forth a road for 24 minutes.
• 1970: Douglas Huebler asks museum visitors to write downwardly '1 accurate underground'. The resulting 1800 documents are compiled into a volume 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 3rd largest landowners in New York City. The backdrop, generally in Harlem and the Lower Eastward Side, were decrepit and poorly maintained, and represented the largest concentration of existent estate in those areas under the control of a single group. The captions gave various financial details about the buildings, including recent 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". There is no show to suggest that the trustees of the Guggenheim were linked financially to the family which was the subject of the work.
• 1972: The Art & Language Plant exhibits Index 01 at the Documenta v, 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 poster, and under each letter is written the name of some victim of state repression.
• 1972: Fred Wood buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their ain works of art.
• Full general Idea launch File mag in Toronto. The magazine functioned equally something of an extended, collaborative artwork.
• 1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for nature to create fine art.
• 1974: Cadillac Ranch virtually Amarillo, Texas.
• 1975–76: Three issues of the journal The Fox were published by Fine art & Language in New York. The editor was Joseph Kosuth. The Fox became an of import platform for the American members of Fine art & Language. Karl Beveridge, Ian Burn down, Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote manufactures which thematized the context of gimmicky art. These articles exemplify the evolution of an institutional critique inside the inner circumvolve of conceptual art. The criticism of the art world integrates social, political and economic reasons.
• 1975–77 Orshi Drozdik's Individual Mythology performance, photography and offsetprint series and her theory of ImageBank in Budapest.
• 1976: facing internal problems, members of Art & Linguistic communication separate. The destiny of the name Fine art & Language remains in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
• 1977: Walter De Maria'due south Vertical Globe Kilometer in Kassel, Germany. This was a 1 kilometer brass rod which was sunk into the world and then that naught remained visible except a few centimeters. Despite its size, therefore, this work exists mostly in the viewer's heed.
• 1982: The opera Victorine by Fine art & Language was to be performed in the city of Kassel for documenta 7 and shown aslope Fine art & Language Studio at 3 Wesley Place Painted by Actors, but the performance was cancelled.^[twoscore]
• 1986: Art & Language are nominated for the Turner Prize.
• 1989: Christopher Williams' Angola to Vietnam is get-go exhibited. The work consists of a serial of black-and-white photographs of drinking glass botanical specimens from the Botanical Museum at Harvard University, chosen according to a listing of the xxx-six countries in which political disappearances were known to have taken identify during the year 1985.
• 1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Art.^[41]
• 1991: Ronald Jones exhibits objects and text, fine art, history and science rooted in grim political reality at Metro Pictures Gallery.^[42]
• 1991: Charles Saatchi funds Damien Hirst and the next yr 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 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 Television receiver game chosen Tournez manège (The Dating Game) where the female presenter asked him who he was, to which he replied: 'A multimedia creative person'. Laurette had sent out invitations to an art audience to view the prove on TV from their homes, turning his staging of the artist into a performed reality.
• 1993: Vanessa Beecroft holds her offset functioning in Milan, Italy, using models to act equally a second audience to the display of her diary of nutrient.
• 1999: Tracey Emin is nominated for the Turner Prize. Part of her showroom 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 Piece of work No. 227: The lights going on and off, an empty room in which the lights continue and off.^[44]
• 2003: damali ayo exhibits at the Center of Contemporary Fine art, Seattle, WA Flesh Tone #one: Skinned, a collaborative self-portrait where she asked paint mixers from local hardware stores to create house paint to match various parts of her body, while recording the interactions.^[45]
• 2004: Andrea Fraser'southward video Untitled, a document of her sexual encounter in a hotel room with a collector (the collector having agreed to assist finance the technical costs for enacting and filming the see) is exhibited at the Friedrich Petzel Gallery. It is accompanied by her 1993 piece of work Don't Postpone Joy, or Collecting Tin can Be 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 Gimmicky on the facade of Altes Museum in Berlin.
• 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Military Justice on Vienna'due south Ballhausplatz after winning an international competition. The inscription on top of the 3-pace sculpture features a poem past Scottish poet Ian Hamilton Finlay (1924–2006) with merely two words: all alone.

Notable conceptual artists [edit]

• Kevin Abosch (built-in 1969)
• Vito Acconci (1940–2017)
• Bas Jan Ader (1942–1975)
• Vikky Alexander (born 1959)
• Francis Alÿs (built-in 1959)
• Keith Arnatt (1930–2008)
• Art & Language
• Roy Ascott (born 1934)
• Marina Abramović (built-in 1946)
• Billy Apple (born 1935)
• Shusaku Arakawa (1936–2010)
• Christopher D'Arcangelo (1955–1979)
• Michael Asher (1943–2012)
• Mireille Astore (born 1961)
• damali ayo (born 1972)
• Abel Azcona (born 1988)
• John Baldessari (1931–2020)
• Adina Bar-On (built-in 1951)
• NatHalie Braun Barends
• Artur Barrio (born 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 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 (born 1970)
• Jeremy Deller (born 1966)
• Agnes Denes (born 1938)
• Jan Dibbets (built-in 1941)
• Mark 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 (born 1961)
• Jochen Gerz (born 1940)
• Gilbert and George Gilbert (born 1943) George (born 1942)
• Manav Gupta (born 1967)
• Felix Gonzalez-Torres (1957–1996)
• Allan Graham (1943–2019)
• Dan Graham (1942-2022)
• Hans Haacke (built-in 1936)
• Iris Häussler (born 1962)
• Irma Hünerfauth (1907–1998)
• Oliver Herring (built-in 1964)
• Andreas Heusser (born 1976)
• Jenny Holzer (born 1950)
• Greer Honeywill (born 1945)
• Zhang Huan (built-in 1965)
• Douglas Huebler (1924–1997)
• General Thought
• David Republic of 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 (creative person) (born 1945)
• Joseph Kosuth (born 1945)
• Barbara Kruger (built-in 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 (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 (built-in 1937)
• Phyllis Marking (1921–2004)
• Danny Matthys (born 1947)
• Allan McCollum (born 1944)
• Cildo Meireles (born 1948)
• Ana Mendieta (built-in 1985)
• Marta Minujín (born 1943)
• Linda Montano (born 1942)
• Robert Morris (artist) (1931–2018)
• North.Eastward. 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 (built-in 1972)
• Yoko Ono (born 1933)
• Roman Opałka (1931–2011)
• Dennis Oppenheim (1938–2011)
• Michele Pred
• Adrian Piper (born 1948)
• William Pope.L (born 1955)
• Liliana Porter (born 1941)
• Dmitri Prigov (1940–2007)
• Guillem Ramos-Poquí (born 1944)
• Charles Recher (1950–2017)
• Jim Ricks (born 1973)
• Lotty Rosenfeld (1943–2020)
• Martha Rosler (built-in 1943)
• Allen Ruppersberg (born 1944)
• Santiago Sierra (born 1966)
• Bodo Sperling (born 1952)
• Stelarc (born 1946)
• G. Vänçi Stirnemann (built-in 1951)
• Hiroshi Sugimoto (born 1948)
• Stephanie Syjuco (built-in 1974)
• Hakan Topal (born 1972)
• Endre Tot (born 1937)
• David Tremlett (born 1945)
• Tucumán arde (1968)
• Jacek Tylicki (born 1951)
• Mierle Laderman Ukeles (born 1939)
• Wolf Vostell (1932–1998)
• Marking Wallinger (built-in 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)

Run into also [edit]

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

Individual works [edit]

• Fountain
• One and 3 Chairs
• The Bride Stripped Bare By Her Bachelors, Fifty-fifty
• Mirror Piece
• Secret Painting
• Victorine

References [edit]

1. ^ "Wall Drawing 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 Afterwards 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 down, Mel Ramsden: "Notes On Assay" (1970). Reprinted in Osborne (2003), p. 237. E.k. "The effect 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 fine art". Tate Gallery. tate.org.uk. Accessed Baronial 8, 2006
8. ^ Tony Godfrey, Conceptual Fine art, London: 1998. p. 28
9. ^ "Essay: Concept Art". www.henryflynt.org.
10. ^ "The Crystallization of Concept Art in 1961". world wide web.henryflynt.org.
11. ^ Henry Flynt, "Concept-Art (1962)", Translated and introduced by Nicolas Feuillie, Les presses du réel, Avant-gardes, Dijon.
12. ^ "Conceptual Fine art (Conceptualism) – Artlex". Archived from the original on May xvi, 2013.
13. ^ Rorimer, p. 11
14. ^ Lucy Lippard & John Chandler, "The Dematerialization of Art", Fine art International 12:ii, February 1968. Reprinted in Osborne (2002), p. 218
15. ^ Rorimer, p. 12
16. ^ "Ed Ruscha and Photography". The Art Institute of Chicago. ane March – 1 June 2008. Archived from the original on 31 May 2010. Retrieved xiv 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 Fine 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%twenty/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 by many to exist the movement's manifesto) [...]."
23. ^ "Conceptual Art – The Fine art Story". theartstory.org. The Fine art Story Foundation. Retrieved 25 September 2014.
24. ^ Atkins, Robert: Artspeak, 1990, Abbeville Printing, ISBN 1-55859-010-2
25. ^ Hensher, Philip (2008-02-20). "The loo that shook the world: Duchamp, Man Ray, Picabi". London: The Contained (Actress). pp. 2–v.
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'southward Paris, Lot 37. 23 – 25 Feb 2009
29. ^ Kostelanetz, Richard (2003). Conversing with John Cage. New York: Routledge. ISBN 0-415-93792-two. pp. 69–71, 86, 105, 198, 218, 231.
30. ^ Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988
31. ^ Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (2nd Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 333
32. ^ ChewingTheSun. "Vorschau – Museum Morsbroich".
33. ^ ^{a b} Byrt, Anthony. "Brand, new". Frieze Magazine . Retrieved 28 November 2012.
34. ^ Fluxus at 50. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, ISBN 978-3-86678-700-ane.
35. ^ Tate (2016-04-22), Art & Language – Conceptual Art, Mirrors and Selfies | TateShots , retrieved 2017-07-29
36. ^ "Air-Conditioning Show / Air Show / Frameworks 1966–67". www.macba.true cat. Archived from the original on 2017-07-29. Retrieved 2017-07-29 .
37. ^ "ART & Linguistic communication UNCOMPLETED". www.macba.cat . Retrieved 2017-07-29 .
38. ^ ^{a b} "BBC – Coventry and Warwickshire Culture – Art and Linguistic communication". www.bbc.co.u.k. . Retrieved 2017-07-29 .
39. ^ Terroni, Christelle (7 October 2011). "The Rise and Fall of Alternative Spaces". Books&ideas.internet . Retrieved 28 November 2012.
40. ^ Harrison, Charles (2001). Conceptual art and painting Further essays on Fine art & Linguistic communication. Cambridge: The MIT Printing. p. 58. ISBN0-262-58240-6.
41. ^ Brenson, Michael (19 October 1990). "Review/Art; In the Arena of the Heed, at the Whitney". The New York Times.
42. ^ Smith, Roberta. "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 upward Turner prize". x December 2001.
45. ^ "Tertiary Declension Audio Festival Behind the Scenes with damali ayo".
46. ^ "The Times & The Dominicus Times". www.thetimes.co.u.k..

Farther reading [edit]

Books

• Charles Harrison, Essays on Art & Language, MIT Press, 1991
• Charles Harrison, Conceptual Art and Painting: Further essays on Art & Language, MIT printing, 2001
• Ermanno Migliorini, Conceptual Art, Florence: 1971
• Klaus Honnef, Concept Art, Cologne: Phaidon, 1972
• Ursula Meyer, ed., Conceptual Art, New York: Dutton, 1972
• Lucy R. Lippard, Half-dozen Years: the Dematerialization of the Art Object From 1966 to 1972. 1973. Berkeley: Academy of California Printing, 1997.
• Gregory Battcock, ed., Idea Fine art: A Disquisitional Anthology, New York: Eastward. P. Dutton, 1973
• Jürgen Schilling, Aktionskunst. Identität von Kunst und Leben? Verlag C.J. Bucher, 1978, ISBN iii-7658-0266-two.
• Juan Vicente Aliaga & José Miguel M. 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 Wood, Art in Theory: 1900–1990, Blackwell Publishing, 1993
• Tony Godfrey, Conceptual Art, London: 1998
• Alexander Alberro & Blake Stimson, ed., Conceptual Art: A Critical Anthology, Cambridge, Massachusetts, London: MIT Press, 1999
• Michael Newman & Jon Bird, ed., Rewriting Conceptual Fine art, London: Reaktion, 1999
• Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001
• Peter Osborne, Conceptual Fine art (Themes and Movements), Phaidon, 2002 (See likewise the external links for Robert Smithson)
• Alexander Alberro. Conceptual art and the politics of publicity. MIT Press, 2003.
• Michael Corris, ed., Conceptual Fine art: Theory, Practice, Myth, Cambridge, England: Cambridge University Press, 2004
• Daniel Marzona, Conceptual Art, Cologne: Taschen, 2005
• John Roberts, The Intangibilities of Form: Skill and Deskilling in Fine art After the Readymade, London and New York: Verso Books, 2007
• Peter Goldie and Elisabeth Schellekens, Who'southward afraid of conceptual fine art?, Abingdon [etc.] : Routledge, 2010. – VIII, 152 p. : ill. ; 20 cm ISBN 0-415-42281-seven hbk : ISBN 978-0-415-42281-9 hbk : ISBN 0-415-42282-v pbk : ISBN 978-0-415-42282-half-dozen pbk

Essays

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

Exhibition catalogues

• Diagram-boxes and Counterpart Structures, exh.true cat. London: Molton Gallery, 1963.
• Jan 5–31, 1969, exh.true cat., New York: Seth Siegelaub, 1969
• When Attitudes Become Form, exh.cat., Bern: Kunsthalle Bern, 1969
• 557,087, exh.cat., Seattle: Seattle Art Museum, 1969
• Konzeption/Formulation, exh.cat., Leverkusen: Städt. Museum Leverkusen et al., 1969
• Conceptual Art and Conceptual Aspects, exh.cat., New York: New York Cultural Center, 1970
• Fine art in the Listen, exh.cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970
• Information, exh.true cat., New York: Museum of Mod 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.true cat., Bordeaux: capcMusée d'art contemporain de Bordeaux, 1988
• 50'art conceptuel, exh.cat., Paris: ARC–Musée d'Fine art Moderne de la Ville de Paris, 1989
• Christian Schlatter, ed., Art Conceptuel Formes Conceptuelles/Conceptual Fine art Conceptual Forms, exh.cat., Paris: Galerie 1900–2000 and Galerie de Poche, 1990
• Reconsidering the Object of Fine art: 1965–1975, exh.cat., Los Angeles: Museum of Contemporary Fine art, 1995
• Global Conceptualism: Points of Origin, 1950s–1980s, exh.cat., New York: Queens Museum of Fine art, 1999
• Open Systems: Rethinking Art c. 1970, exh.cat., London: Tate Modern, 2005
• Art & Language Uncompleted: The Philippe Méaille Drove, MACBA Press, 2014
• Light Years: Conceptual Art and the Photograph 1964–1977, exh.cat., Chicago: Art Institute of Chicago, 2011

External links [edit]

rodriguezwasuacts.blogspot.com

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

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