Drag Each Work of Art Into Its Corresponding Predominant Theme

"No matter what form [the artwork] may finally have it must begin with an idea. It is the process of formulation and realization with which the artist is concerned."

"People, buying my stuff, can take it wherever they go and tin can rebuild it if they choose. If they keep it in their heads, that's fine too. They don't have to buy it to have it - they can merely accept it by knowing it."

"In order to proceeds some insight into the forces that elevate sure products to the level of 'works of art' it is helpful - amid other investigations - to expect into the economic and political underpinnings of the institutions, individuals and groups who share in the control of power."

"When objects are presented within the context of art (and until recently objects ever have been used) they are as eligible for aesthetic consideration as are whatsoever objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment."

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"All of the significant fine art of today stems from Conceptual fine art. This includes the art of installation, political, feminist, and socially directed art."

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Summary of Conceptual Art

Conceptual fine art is a movement that prizes ideas over the formal or visual components of art works. An constructing of various tendencies rather than a tightly cohesive movement, Conceptualism took myriad forms, such as performances, happenings, and ephemera. From the mid-1960s through the mid-1970s Conceptual artists produced works and writings that completely rejected standard ideas of art. Their chief claim - that the articulation of an creative idea suffices equally a work of art - implied that concerns such as aesthetics, expression, skill and marketability were all irrelevant standards past which fine art was usually judged. And so drastically simplified, it might seem to many people that what passes for Conceptual art is not in fact "art" at all, much as Jackson Pollock's "baste" paintings, or Andy Warhol'south Brillo Boxes (1964), seemed to contradict what previously had passed for art. Merely it is important to understand Conceptual art in a succession of advanced movements (Cubism, Dada, Abstract Expressionism, Pop, etc.) that succeeded in cocky-consciously expanding the boundaries of art. Conceptualists put themselves at the extreme end of this avant-garde tradition. In truth, it is irrelevant whether this extremely intellectual kind of art matches one's personal views of what fine art should exist, because the fact remains that Conceptual artists successfully redefine the concept of a piece of work of art to the extent that their efforts are widely accepted as art by collectors, gallerists, and museum curators.

Fundamental Ideas & Accomplishments

• Conceptual artists link their work to a tradition of Marcel Duchamp, whose readymades had rattled the very definition of the piece of work of fine art. Like Duchamp before them, they abandoned beauty, rarity, and skill every bit measures of art.
• Conceptual artists recognize that all art is essentially conceptual. In order to emphasize this, many Conceptual artists reduced the fabric presence of the piece of work to an absolute minimum - a trend that some have referred to every bit the "dematerialization" of art.
• Conceptual artists were influenced by the brutal simplicity of Minimalism, just they rejected Minimalism's cover of the conventions of sculpture and painting equally mainstays of creative product. For Conceptual artists, art demand non expect like a traditional work of art, or even have whatever concrete form at all.
• The analysis of art that was pursued past many Conceptual artists encouraged them to believe that if the artist began the artwork, the museum or gallery and the audition in some manner completed information technology. This category of Conceptual art is known as 'institutional critique,' which can be understood as part of an even greater shift away from emphasizing the object-based piece of work of fine art to pointedly expressing cultural values of society at large.
• Much Conceptual art is self-witting or self-referential. Similar Duchamp and other modernists, they created fine art that is about fine art, and pushed its limits by using minimal materials and fifty-fifty text.

Overview of Conceptual Art

I of the primary theorists of Conceptual art, Sol Lewitt said "Ideas alone can be works of art; they are in a concatenation of evolution that may eventually notice some grade. All ideas need not exist made concrete." He conceived many different pieces, some were never built, while others were ultimately given physical form.

Central Artists

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  Joseph Beuys was a German multi- and mixed-media artist best known for incorporating ideas of humanism, social philosophy and politics into his art. Beuys skillful everything from installation and performance art to traditional painting and "social sculpture." He was continually motivated by the conventionalities of universal human creativity.

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  John Baldessari, built-in in 1931, is an American conceptual artist. He oft combines image and languages in his art. His early on works were canvas paintings that were empty except for painted statements derived from gimmicky fine art theory. His juxtaposition of epitome and text is reminiscent of Rene Magritte's surrealist paintings.

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  Sol LeWitt was an American creative person unremarkably associated with the Minimalist and Conceptual movements. He rose to prominence in the 1960s with the likes of Rauschenberg, Johns and Stella, and his piece of work was included in the famous 1966 exhibit Primary Structures at the Jewish Museum. LeWitt's fine art often employed uncomplicated geometric forms and archetypal symbols, and he worked in a variety of media only was most interested in the idea behind the artwork.

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  Robert Rauschenberg, a key effigy in early Pop art, admired the textural quality of Abstract Expressionism but scorned its emotional pathos. His famous "Combines" are part sculpture, role painting, and part installation.

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  Robert Smithson was an American artist best known for his innovations in Land and Earth Art. Smithson's large-scale projects employed world and other natural resources to construct works that both manipulated and preserved the natural mural. His most famous work is Spiral Jetty in Utah, constructed entirely from basalt, globe and salt.

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  Walter de Maria is an American sculptor, composer, and multi-media artist whose all-time known work is The Lightning Field (1977), consisting of 400 lightning rods situated on a field in New United mexican states.

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  Damien Hirst is a British installation and conceptual artist, and in the 1980s was a founding member of the Young British Artists (YBAs). His best known work is Physical Impossibility of Decease in the Mind of Someone Living (1991), comprised of a dead tiger shark suspended in a vitrine of formaldehyde.

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  Jenny Holzer is an American conceptual and mixed-media artist. Her piece of work is best known for using a variety of text, propaganda imagery, audio, video and calorie-free, all of which she attempts to comprise into public spaces, thus bringing creative experience directly into the globe.

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  Joseph Kosuth is an American conceptual artist, philosopher and essayist. His most celebrated work is 1 and Three Chairs (1965), which doubles as a piece of commentary on Plato'south Theory of Forms. He is likewise well-known for his 1969 essay "Art after Philosophy," considered a key text of postmodern art writing.

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  Lawrence Weiner was one of the pioneers of text-as-art. His utilize of language is notable for its lyricism, its inquisitive engagement with the material world around it, and its playful visual forms.

Do Not Miss

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  Institutional Critique is the practice of systematic inquiry into the workings of art institutions and their connections to the development of art. Institutional Critique focuses on the relationships betwixt the viewer, linguistic communication, process, the consumption of art.

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  Commencement in the 1960s, artists of color, LGBTQ+ artists, and women accept used their art to stage and display experiences of identity and community.

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  Installation fine art is a genre of gimmicky fine art-making in which two- and 3-dimensional materials are used to transform a particular site into an immersive space for the visitor. Installations may include sculptural, found, sound-based, and performance elements, and can be permanent or ephemeral.

Important Art and Artists of Conceptual Art

Erased de Kooning Cartoon (1953)

Creative person: Robert Rauschenberg

In 1953 Robert Rauschenberg visited Willem de Kooning'southward loft, requesting one of de Kooning's drawings to completely erase information technology. Rauschenberg believed that in order for this idea to get a work of art, the work had to exist someone else's and not his own; if he erased one of his own drawings then the event would be cypher more than than a negated drawing. Although disapproving at first, de Kooning understood the concept and reluctantly consented to hand over something that he (de Kooning) would miss and that would be a challenge to erase entirely, thus making the erasure that much more profound in the terminate. It took Rauschenberg a little over a month and an estimated 15 erasers to "finish" the work. "Information technology's not a negation," Rauschenberg in one case said, "it'due south a celebration, it's just the idea!" Of class, it also signaled a good day to Abstract Expressionist art, and the expectation that a work of art should be expressive. The absent drawing is a Conceptual work avant la lettre, and a forerunner to works like Sol Lewitt's Buried Cube Containing an Object of Importance but Piddling Value (1968), a gag piece, where LeWitt supposedly interred a simple cube in a collector's yard, and with it he buried Minimalism's object-centered arroyo.

One and Three Chairs (1965)

Creative person: Joseph Kosuth

A concrete chair sits between a scale photograph of a chair and a printed definition of the word "chair." Emblematic of Conceptual art, One and Three Chairs makes people question what constitutes the "chair" - the concrete object, the idea, the photo, or a combination of all three. Joseph Kosuth once wrote, "The art I call conceptual is such considering information technology is based on an inquiry into the nature of fine art. Thus, information technology is...a thinking out of all the implications, of all aspects of the concept 'art.'" One and Iii Chairs denies the hierarchical distinction between an object and a representation, just as information technology implies a conceptual work of art tin can be object or representation in its various forms. This work harks dorsum to and as well extends the kind of inquiry into the presumed priority of object over representation that had been earlier proposed past the Surrealist René Magritte in his Treachery of Images (1928-9), with its image of a piping over the inscription "Ceci n'est pas united nations pipage" (This is not a pipe).

Vertical Earth Kilometer (1977)

Artist: Walter de Maria

The idea underlying this piece was the creation of an actual yet invisible piece of work of fine art. With the help of an industrial drill, de Maria dug a narrow hole in the ground exactly one kilometer deep, inserted a ii-inch diameter brass rod of the aforementioned length, then concealed it with a sandstone plate. A pocket-sized pigsty was cut in the plate'due south middle to reveal a small-scale portion of the rod, which is perfectly level with the ground. The result is a permanent piece of work of fine art that people are forced to imagine but may never actually run across. Equally a complementary piece to Vertical World Kilometer, de Maria created the far more visible Broken Kilometer (1979), which consisted of five hundred two-meter-long brass rods, neatly arranged on an exhibition floor space in v parallel rows of i hundred rods each. In keeping with Conceptual artists' dispensation of traditional materials and formal concerns, this work defies the marketplace: it can't be sold or entirely exhibited. Further, its simplicity and largely concealed quality makes it anti-expressive and consistent with the period'due south many paradoxical negations of the visual in "visual art."

Useful Resources on Conceptual Art

Content compiled and written by Justin Wolf

Edited and published by The Art Story Contributors

"Conceptual Fine art Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Justin Wolf
Edited and published by The Art Story Contributors
Available from:
First published on 01 Oct 2012. Updated and modified regularly
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Source: https://www.theartstory.org/movement/conceptual-art/