What Tends to Be the Primary Focus of a Conceptual Art Work?
CONCEPTUAL ART
Conceptual art is art for which the idea (or concept) behind the piece of work is more important than the finished art object. Information technology emerged as an art movement in the 1960s and the term usually refers to art fabricated from the mid-1960s to the mid-1970s.
Although the term 'concept art' had been used in the early 1960s (Henry Flynt of the Fluxus group described his performance pieces as 'concept art' in 1961), information technology was not until the late sixties that conceptual art as a definable movement emerged. Joseph Kosuth'southward serial Titled (Art as Thought as Idea) 1966–7; the proposal for an exhibition Air Bear witness Air/Conditioning 1966–vii by English artists Terry Atkinson and Michael Baldwin (founder members of the group Fine art & Language); John Baldessari's word paintings exhibited in LA in 1968; and of import group exhibitions such as that organised past fine art dealer Seth Siegelaub in New York in 1969, January 1-31: 0 Objects, 0 Painters, 0 Sculptors reflected this growing ideas-based arroyo to fine art-making. The term conceptual art was first used to reference this distinct movement in an article written by Sol LeWitt in 1967:
In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of fine art, information technology means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.
LeWitt, 'Paragraphs on Conceptual Art', Artforum Vol.5, no. 10, Summer 1967, pp. 79-83
In 1973 a pioneering tape of the early years of the motion appeared in the form of a book, Six Years, by the American critic Lucy Lippard. The 'six years' were 1966–72. The long subtitle of the book referred to 'so-called conceptual or information or idea art'.
CONCEPTUAL ARTWORKS
Conceptual art can be – and can look similar – almost anything. This is considering, different a painter or sculptor who will remember about how all-time they can express their idea using paint or sculptural materials and techniques, a conceptual artist uses whatever materials and whatever form is nigh advisable to putting their idea beyond – this could be anything from a performance to a written description. Although there is no one style or grade used by conceptual artists, from the tardily 1960s sure trends emerged.
Read the captions in the artworks below to find out about some of the master ways conceptual artists explored and expressed their ideas.
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Active Poetry 1971
Tate
© Ewa Partum
Performance: Ewa Partum used operation as a ways of creating her poetry. Her poetic works were made by taking individual letters of the alphabet cut from paper, and scattering them in city and countryside locations. Past deconstructing language, the artist aimed to explore its structures.
I similar America and America likes me
Action: Beuys referred to his operation works equally actions. His most famous action, I Like America and America Likes Me took place in May 1974. Beuys wrapped himself in felt and spent iii days in a room with a coyote. The work was an expression of his anti-Vietnam State of war stance, and also reflected his beliefs nearly the harm done to the American continent and its native cultures past European settlers.
Photograph credit Caroline Tisdall © DACS 200
A Line Fabricated by Walking 1967
Tate
© Richard Long
Country fine art: To make this work Richard Long walked backwards and frontward in a field until the flattened turf defenseless the sunlight and became visible every bit a line. He photographed the work, every bit a means of recording this physical intervention within the landscape.
Pose Piece of work for Plinths I 1971
Tate
© Bruce McLean
Body art: Originally conceived equally a operation, McLean's poses are an ironic and humorous commentary on what he considered to be the pompous monumentality of traditional big plinth-based sculptures. The artist later had himself photographed, repeating the poses.
Untitled 1969
ARTIST ROOMS Tate and National Galleries of Scotland
© Jannis Kounellis
Constitute objects: Some conceptual artists use found objects to express their ideas. For case artists in the Italian arte povera group used all kinds of found objects and low-value materials such every bit twigs, fabric and fat, with the aim of challenging and disrupting the values of the commercialised contemporary gallery organization. (Arte povera means 'poor art').
A Portrait of the Artists as Young Men 1972
Tate
© Gilbert and George
Film and video: Moving-picture show and video is often used past conceptual artists to record their deportment or performances. Gilbert & George'south art is a grade of self-portraiture, since they almost always characteristic in their own work. They see no separation between their activities equally artists and their everyday existence, and since 1969 have presented themselves as living sculptures.
WHEN, WHY AND WHERE DID CONCEPTUAL ART HAPPEN?
As a definable motion conceptual art is associated with the 1960s and 1970s, but its origins attain across these two decades. Marcel Duchamp is often seen equally an important forefather of conceptual fine art, and his readymade Fountain of 1917 cited as the starting time conceptual artwork.
The movement that emerged in the mid 1960s and connected until the mid 1970s was international, happening more or less simultaneously beyond Europe, Northward America and S America.
Artists associated with the movement attempted to bypass the increasingly commercialised art world by stressing thought processes and methods of production equally the value of the piece of work. The art forms they used were often intentionally those that do not produce a finished object such every bit a sculpture or painting. This meant that their work couild not be easily bought and sold and did not need to be viewed in a formal gallery situation.
It was not just the structures of the art world that many conceptual artists questioned, at that place was ofttimes a strong socio-political dimension to much of the work they produced, reflecting wider dissatisfaction with club and authorities policies. (See for instance Joseph Beuys's social sculpture).
Although as a definable art motility conceptual fine art is associated with the 1960s, many artists keep to brand conceptual fine art in the twenty-outset century (such equally Martin Creed and Simon Starling).
SELECTED ARTISTS WORKING WITH CONCEPTUAL Fine art
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CONCEPTUAL Fine art AT TATE
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