Conceptual art , sometimes simply called conceptualism , is an art in which the concept or idea involved in work takes precedence over traditional, technical, and material aesthetics. worries. Some conceptual artwork, sometimes called installation, can be constructed by anyone simply by following a set of written instructions. This method is crucial for the definition of the art of Conceptual American artist Sol LeWitt, one of the first to appear in print:
In conceptual art the idea or concept is the most important aspect of the job. When an artist uses a conceptual art form, it means that all planning and decisions are made beforehand and execution is a mere affair. The idea becomes a machine that makes art.
Tony Godfrey, author of Conceptual Art (1998), asserted that conceptual art is questioning the nature of art, the idea that Joseph Kosuth was elevated to the definition of art itself in the seminal, the earliest manifesto of conceptual art, Art after Philosophy "(1969). The idea that art should test its own nature has become a powerful aspect of influential art critics, Clement Greenberg's vision of Modern art during the 1950s. With the advent of language-based art in the 1960s, however, conceptual artists such as Joseph Kosuth, Lawrence Weiner and British Art & amp; Language groups started art interrogations far more radical than ever (see below). One of the first and foremost things they question is the general notion that the role of the artist is to create special types of material objects.
Through his association with Young British Artists and Turner Prize during the 1990s, in popular use, especially in England, "conceptual art" came to show all contemporary art that does not practice traditional painting and sculpture skills. It can be argued that one of the reasons why the term "conceptual art" has been associated with contemporary practices that are far from their original purpose and form lies in the problem of defining the term itself. As Mel Bochner pointed out in the early 1970s, in explaining why he disliked the "conceptual" nickname, it is not always clear what "concept" means, and it runs the risk of confusion with "intent". Thus, in describing or defining the work of art as conceptual, it is important not to confuse the so-called "conceptual" with the "intentions" of an artist.
Video Conceptual art
Histori
The French artist, Marcel Duchamp, paved the way for conceptualists, giving them an example of prototype-ready conceptual works, for example. The most famous of the Duchamp readymade is Fountain (1917), a standard basin-baser signed by the artist under the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-jury exhibition of the Society of Independent Artists in New York (who rejected it). Artistic traditions do not see ordinary objects (such as urinal) as art because they are not made by artists or with artistic intentions, nor are they unique or handmade. The relevance of Duchamp and the theoretical interests to the future "conceptualist" was later recognized by US artist Joseph Kosuth in his 1969 essay, "Art after Philosophy," when he wrote: "All art (after Duchamp) is conceptual (in nature) because art exists only conceptually ".
In 1956, the founder of Lettrism, Isidore Isou, developed the idea of ​​a work of art that, in essence, can never be created in reality, but which can provide aesthetic rewards by intellectual thought. This concept, also called Art esthapÃÆ' Â © riste (or "unlimited-aesthetic"), is derived from Gottfried Wilhelm Leibniz's infinitesimals - the amount that can not exist unless conceptually. The current incarnation (In 2013) of the Isouian movement, ExcoÃÆ'¶rdism, defines itself as infinite art of infinite greatness and infinity.
In 1961, the term "art of concept", coined by artist Henry Flynt in his article with the title as the title, appears in the publication of proto-Fluxus An Anthology of Chance Operations. However, it assumes a different meaning when employed by Joseph Kosuth and by the Arts and English group, which discards conventional art objects that support critical investigations that are documented into the social, philosophical, and psychological status of the artist. By the mid-1970s they had produced publications, indexes, performances, texts, and paintings for this purpose. In 1970, Conceptual and Conceptual Concepts , the first dedicated conceptual art exhibition, took place at the New York Cultural Center.
Maps Conceptual art
Criticisms of formalism and commodification art
Conceptual art emerged as a movement during the 1960s - in part as a reaction to formalism that was later articulated by the influential New York art critic Clement Greenberg. According to Greenberg, Modern art follows a process of progressive reduction and refinement toward the goal of defining the essential nature of each medium. Elements contrary to this nature should be reduced. The task of painting, for example, is to define precisely what kind of object the real painting is: what makes it a painting and nothing else. Because the nature of the painting becomes a flat object with a canvas surface where colored pigments are applied, things like figurations, 3-D perspective illusions and references to external subject matter are all found to be incompatible with the essence of the painting, and should be removed.
Some argue that conceptual art continues to "dematerialize" this art by eliminating the need for the object as a whole, while others, including many artists themselves, see conceptual art as a radical trap with Greenberg formalist modernism. Later, artists continue to share their preference for the art of being critical of themselves, as well as their dislike for illusion. However, by the late 1960s it was clear that Greenberg's provision for art to continue within the confines of every medium and to exclude external matter no longer held traction. Conceptual art also reacts to the commodification of art; he tried a subversion of the gallery or museum as the location and determinant of art, and the art market as the owner and distributor of art. Lawrence Weiner says: "Once you know about my work you have it, there's no way I can climb into someone's head and remove it." Therefore, many works of conceptual artists can only be known through documentation manifested by them, eg. photographs, written texts or displayed objects, which some people may argue not to themselves are art. Sometimes (as in the works of Robert Barry, Yoko Ono, and Weiner himself) is reduced to a set of written instructions that describe a work, but stops actually making it - emphasizes ideas as more important than artifacts. It expresses an explicit preference for the "art" side of the real dichotomy between art and craft, where art, unlike handicrafts, takes place within and involves historical discourse: for example, the "written instruction" of Ono makes more sense along with other conceptual art. time.
Language and/as art
Language is a major concern for the first wave of conceptual artists in the 1960s and early 1970s. Although the use of texts in art is by no means new, only in 1960s Lawrence Weiner artists Edward Ruscha, Joseph Kosuth, Robert Barry, and British Art & amp; Language groups begin to produce art in an exclusively linguistic way. Where previously language was presented as one kind of visual element alongside others, and subject to a thorough composition (eg, Synthetic Cubism), conceptual artists used the language in place of brush and canvas, and allowed it to signify in its own right. The work of Lawrence Weiner, Anne Rorimer writes, "The thematic content of individual works comes from the import of the language used, while the means of presentation and contextual placement play an important but separate role."
British philosophers and theorists on the conceptual art of Peter Osborne show that among the many factors that influence gravity on language-based art, the central role for conceptualism comes from the transition to linguistic theories of meaning in Anglo-American analytic philosophy, and structuralist. and post a structuralist Continental philosophy during the mid-twentieth century. This linguistic change "reinforces and legitimizes" the direction taken by conceptual artists. Osborne also noted that early conceptualists were the first generation of artists to complete university-based degree training in the arts. Osborne then made the observation that post-conceptual contemporary art in a public lecture delivered at Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. This is a claim made on the level of the art ontology (rather than saying on level of descriptive style or movement).
The American art historian Edward A. Shanken points to Roy Ascott's example "strongly demonstrating a significant crossroads between conceptual and art-and-technology art, exploding the conventional autonomy of these art-history categories." Ascott, the British artist closest to cybernetic art in the UK, is not included in Serendipity Cybernetic because the use of cybernetics is primarily conceptual and not explicitly using technology. In contrast, although the essay on the application of cybernetics to art and the pedagogy of art, "The Construction of Change" (1964), is quoted on the dedication page (for Sol Lewitt) of Lucy R. Lippard's seminal Six: The Dematerialization of the Art Object from 1966 until 1972 , Ascott's anticipation and contribution to the formation of conceptual art in Britain has received little recognition, perhaps (and ironically) because his work is too closely aligned with art and technology.. Another important intersection was explored in the use of the thesaurus by Ascott in 1963 [1], which illustrates the explicit parallels between the taxonomic qualities of verbal and visual languages ​​- a concept to be taken in Joseph Kosuth Second Investigation, Proposition 1 (1968) and Mel Ramsden Elements of an Incomplete Map (1968).
Conceptual art and artistic skills
"By adopting the language as their exclusive media, Weiner, Barry, Wilson, Kosuth and Arts & Language are able to wipe away the remnants of an authoritative presence manifested by formal discovery and material handling."
An important distinction between conceptual art and more "traditional" art forms is the question of artistic skills. Although the skills in traditional media handling often play a small role in conceptual art, it is difficult to argue that no skills are required to create conceptual work, or skills that are always absent from them. John Baldessari, for example, has presented the realist images he has assigned to professional writers to paint; and many conceptual performing artists (eg Stelarc, Marina Abramovi?) are technically successful players and skilled manipulators of their own bodies. Thus there is not so much absence of skill or hostility towards a tradition that defines conceptual art as a clear neglect for conventional, modern understanding of the authorial presence and individual artistic expression.
Contemporary influences
The first wave of the "conceptual art" movement was extended from about 1967 to 1978. The "concepts" of early artists such as Henry Flynt, Robert Morris, and Ray Johnson influenced the widely accepted conceptual art movement. Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner have proven very influential on the next artist, and famous contemporary artists like Mike Kelley or Tracey Emin are sometimes labeled "second or third generation" or "post-conceptual" conceptions of artists.
Much attention from the conceptual art movement has been taken by contemporary artists. While they may or may not call themselves "conceptual artists", ideas such as anti-commodification, social and/or political criticism, and ideas/information as media continue to be aspects of contemporary art, especially among artists working with the art of installation , performance art, net.art and electronic/digital art.
Controversy in England
In Britain, the rise to the popularity of Young British Artists (YBAs) after the 1988 Freeze Show, cited by Damien Hirst, and subsequent group promotions by Saatchi Gallery during the 1990s, produced backlash media, in which the phrase " conceptual art "became a term of derision that applied to many contemporary art. This is reinforced by the more extreme nominations of the Turner Prize (especially Hirst and Emin) causing controversy every year.
The Stuckist group of artists, founded in 1999, proclaimed themselves "pro-contemporary figurative paintings with anti-conceptual ideas and art, mainly because of the lack of concepts." They also called it quasi, "mediocre and boring" and on July 25, 2002, put the coffin outside the White Cube gallery, marked "The Death of Conceptual Art". They hold an annual demonstration outside the Turner Prize.
In 2002, Ivan Massow, chair of the Institute of Contemporary Arts, branded "pretentious, self-inculgent, craftless tat" conceptual art and in "the danger of disappearing on its own... led by cultural tsar like Tate's Sir Nicholas Serota." consequently forced to resign. At the end of the year, the Minister of Culture, Kim Howells (a graduate of art school) denounced the Turner Prize as "nonsense, mechanical, and conceptual".
In October 2004 Saatchi Gallery told the media that "painting continues to be the most relevant and vital way selected by artists to communicate."
Books
- Charles Harrison, Essays on Art & amp; Language, MIT Press, 1991
- Charles Harrison, Conceptual Art and Painting: More essays on Arts & amp; Language, press MIT, 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, Six Years: The Dematerialization of Art Objects From 1966 to 1972 . 1973. Berkeley: University of California Press, 1997.
- Gregory Battcock, ed., Art Ideas: Critical Anthology , New York: E. P. Dutton, 1973
- JÃÆ'¼rgen Schilling, Aktionskunst. Identify von Kunst und Leben? Verlag C.J. Bucher, 1978, ISBN 3-7658-0266-2.
- Juan Vicente Aliaga & amp; JosÃÆ'Â Â © Miguel G. CortÃÆ'Â © s, ed., Arte Conceptual Revisado/Conceptual Art Revisited , Valencia: Universidad PolitÃÆ'Â © cnica de Valencia, 1990
- Thomas Dreher, Konzeptuelle Kunst in America und England zwischen 1963 und 1976 (Ludwig-Maximilians-UniversitÃÆ'¤t, MÃÆ'¼nchen), 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 & amp; Blake Stimson, ed., Conceptual Art: Critical Anthology , Cambridge, Massachusetts, London: MIT Press, 1999
- Michael Newman & amp; Jon Bird, ed., Conceptual Rewriting Art , London: Reaktion, 1999
- Anne Rorimer, New Art in the 60s and 70s: Redefining Reality , London: Thames & amp; Hudson, 2001
- Peter Osborne, Conceptual Art (Themes and Movements) , Phaidon, 2002 (See also external links for Robert Smithson)
- Alexander Alberro. Conceptual art and publicity politics . MIT Press, 2003.
- Michael Corris, ed., Conceptual Art: Theory, Practice, Myth , Cambridge, UK: Cambridge University Press, 2004
- Daniel Marzona, Conceptual Art , Koln: Taschen, 2005
- John Roberts, Intangibilities of Form: Skill and Deskilling in Art After Readymade , London and New York: Verso Books, 2007
- Peter Goldie and Elisabeth Schellekens, Who is afraid of conceptual art? , Abingdon [dll]: Routledge, 2010. - VIII, 152 p.Ã,: ill.Ã,; 20Ã, cm ISBNÃ, 0-415-42281-7 hbkÃ,: ISBNÃ, 978-0-415-42281-9 hbkÃ,: ISBNÃ, 0-415-42282-5 pbkÃ,: ISBNÃ, 978-0-415-42282 -6 pbk
Essays
- Andrea Sauchelli, 'Contact Principles, Aesthetic Assessment, and Conceptual Art, Aesthetic Education Journal (coming soon, 2016).
Exhibit catalog
- "Diagram-box and Analogue Structures", exh.cat. London: Gallery of Molton, 1963.
- 5-31 January 1969 , exh.cat., New York: Seth Siegelaub, 1969
- When Attitude Becomes Shape , exh.cat., Bern: Kunsthalle Bern, 1969
- 557.087 , exh.cat., Seattle: Seattle Art Museum, 1969
- Konzeption/Conception , exh.cat., Leverkusen: StÃÆ'¤dt. Leverkusen Museum et al. , 1969
- Conceptual and Conceptual Concepts , exh.cat., New York: New York Cultural Center, 1970
- Art in the Mind , exh.cat., Oberlin, Ohio: Allen Memorial Art Museum, 1970
- Information , exh.cat., New York: Museum of Modern Art, 1970
- Software , exh.cat., New York: Jewish Museum, 1970
- Concept Situation , exh.cat., Innsbruck: Forum for Kunt aktuelle, 1971
- Art conceptuel I , exh.cat., Bordeaux: capcMusÃÆ' Â © e d'art contemporain de Bordeaux, 1988
- L'art conceptuel , exh.cat., Paris: ARC-Musà © d'd'Art Moderne de la Ville de Paris, 1989
- Christian Schlatter, ed., Conceptual Formes Conceptuelles/Conceptual Conceptual Concept , exh.cat., Paris: Galerie 1900-2000 and Galerie de Poche, 1990
- Reconsider Art Objects: 1965-1975 , exh.cat., Los Angeles: Museum of Contemporary Art, 1995
- Global Conceptualism: Origin, 1950s-1980s , exh.cat., New York: Queens Museum of Art, 1999
- Open System: Rethink Art c. 1970 , exh.cat., London: Tate Modern, 2005
- Art & amp; Unfinished Language: The Philippe MÃÆ'Ã… © aille Collection, MACBA Press, 2014
- Light Year: Conceptual and Photo Art 1964-1977 , exh.cat., Chicago: Art Institute of Chicago, 2011
External links
- Art & amp; Unfinished Language: The Philippe MÃÆ'Ã… © aille Collection, MACBA
- Official website of ChÃÆ'Â Â ¢ teau de Montsoreau-Museum of Contemporary Art
- Light Years: Conceptual and Photo Art, 1964-1977 at the Art Institute of Chicago
- Shellekens, Elisabet. "Conceptual Art". In Zalta, Edward N. Stanford Encyclopedia of Philosophy .
- Sol LeWitt, "Paragraph on Conceptual Art"
- Conceptualism
- pdf file from An Anthology of Chance Operations (1963) contains Henry Flynt's "Concept Art" essay on UbuWeb
- conceptual artists, books on conceptual art and links to further reading
- Arte Conceptual y Postconceptual. La idea como arte: Duchamp, Beuys, Cage y Fluxus - PDF UCM
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