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The Conceptual Art Movement

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Elliott Chau

on 16 September 2013

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Transcript of The Conceptual Art Movement

Philopshy, Aims, and Artistic Goals
The Aesthetic Value of Art
The Interpretation of Art
The Cognitive Value of Art
The Conceptual Art Movement
Presentation Order
Conceptual Artists
Philosophizing about conceptual art is not merely philosophizing about one specific art form. It is philosophizing about the most revisionary kind of art, one that sees its own task as being profoundly philosophical in nature.
The aim of conceptual art is to make a viewer think cognitively, and understanding that the art present is not about the aesthetics of it, but the creative and reflective progress. Art is not just about what the final outcome is or what it is made out of, but the message behind it; the idea.
Technological or innovative uses of material
- What is Conceptual Art?
- Conceptual Artists
- Philosophy, Aims, and Artistic Goals
- Technological or Innovative Uses of Material
- Sol LeWitt and Joesph Losuth
What is Conceptual Art?
Conceptual Art (noun)
Art in which emphasis is placed on the means and processes of producing art objects rather than on the objects themselves and in which the various tools and techniques are used to convey the to the spectator.

Conceptual (Adjective)
Pertaining to a general notion or idea.

From Dictionary.com
Born June 17, 1931
Incorporated texts and photography into his canvases
Created thousands of works
Lot of works involves Pointing

John Baldessari
Lawrence Weiner
Born March 31, 1942
Exhibited minimal aesthetic in his earlier works and later became very conceptual
works examine the relationships between interior and exterior space, and perception
Dan Graham
Mel Bochner
Born July 28, 1968
Surrealism and Dada movement
Paved the way for conceptual art
Provided examples of prototypical conceptual works
The Readymades
Marcel Duchamp
Born March 9, 1936
From the Bronx, New York
Escapes the previously known physical limits of the art object in order to express the unknown or unperceived.
Explores the nature of language as a mode of visual communication

Robert Barry
Hans Haacke
Born February 10, 1942
Born in the Bronx, New York
His works often takes the form of typographic texts
Central figures in the formation of conceptual art in the 1960s
Born August 28 1941
Fostered Young British Artists
Conceptual Artist and Painter
Famous for "An Oak Tree"
Michael Craig-Martin
Born October 27, 1924
Died July 12, 1997
Initially a painter, moved to geometric Formica sculptures, then the Minimalist movement and finally Conceptual Art
"The world is full of objects, more or less interesting; I do not wish to add any more."
A founder of conceptual art
Douglas Huebler
Born in 1940, Pittsburgh
Conceptual Art and Installation Art
Used walls of the gallery as the subject of work
one of the earliest proponents of photo-documentation work
Born August 12, 1936
Used nontraditional materials that allude to movement and expression to his early installations that are formally minimal and use earthy elements as materials

Movement began around the mid 1950s till now

Lawrence Weiner
Mel Bouchner
John Baldessari
Douglas Huebler
Dan Graham
Hans Haacke
Michael Craig-Martin
Robert Barry
Marcel Duchamp*

Can only be found if we think of art as the creative processor series of actions resulting in a material thing or object, rather than the end product of that process.
Not so much that a conceptual analysis of art is completely unattainable, as that we simply have been looking in the wrong place.
We should look at the creative and reflective process rather than the material thing.

The Definition of Art
The Ontology and Media of Art
Conceptual art’s claim is not so much the perceivable thing that we are confronted with in galleries or museums, as the idea that it aims to convey.
The rejection of traditional artistic media, together with the de-materialization of the art object, forces us to reconsider what previously seemed relatively uncomplicated-seeming aspects of artistic experience.

The properties in question are generally aesthetic properties, and the assumption motivating the experiential requirement is that the appreciation of artworks necessarily involves an aesthetic element
However, one of the most distinguishing features of conceptual art, setting out as it does to replace illustrative representation with relation to meaning in language or logic representation, is that it does not actually endeavor to produce beautiful pieces or even pieces with aesthetic value.
Conceptual art is an art of the mind: it appeals to matters of the intellect and emphasizes art's cognitive rather than aesthetic value.
Encouraged to take the interpretative exercise into our own hands;
We are, in other words, asked to combine the idea of art as idea with the claim that we can, as spectators, convey an entirely new and fresh interpretation onto an artwork that is nothing but an idea.
In order to be coherent, conceptual art must give up either the claim that the actual artwork is nothing other than the idea, or the claim that the interpretative onus lies on the viewer.
Value lies in a more challenging intellectual relationship with the work, a genuine engagement with the idea in question.
The value an artwork may have in virtue of enhancing or increasing our knowledge and understanding of some topic, notion or event.
Seems to assume that the aesthetic detracts from or divests art of its possible cognitive value
Aim of Conceptual Art
Artistic Goals
To create art that is intended to convey an idea or concept to the viewer and need not involve the creation or appreciation of a traditional art object such as a painting or sculpture.
The conceptual art of Duchamp and other early practitioners like Yves Klein and Piero Manzoni had a subversive impact by testing the limits of what buyers and institutions would accept as art.

The Conceptual artists who came out of the 1960s were more concerned with the philosophical implications of deconstructing a work of art to its barest essence, drawing inspiration from the theories of Martin Heidegger and Ludwig Wittgenstein.

One of the most important precedents for Conceptual art was the work of Dada artist Marcel Duchamp
Established the idea of the "Readymade" - the found object that is simply nominated or chosen by the artist to be a work of art.

Fountain (1917) - nothing more than a porcelain urinal, reoriented ninety degrees, placed on a stand and signed and dated under the alias "R. Mutt."

Dismissed the popular conception that works of art need demonstrate artistic skill

In the 1950s, long after several of his original Readymades had been lost, Duchamp re-issued Fountain and other Readymades for the Sidney Janis Gallery in New York.

Sparked a resurgence of interest in his work, which rekindled a widespread interest in idea-based art throughout the contemporary art world.
How the Movement was Influenced by Sociopolitical Factors
Material is not necessary for conceptual art.
Conceptual art is about the idea; idea is art.
Conceptual art is often found with the minimal amount of material used.
New materials are one of the great afflictions of contemporary art.
Some artists confuse new materials with new ideas.
Particular Conceptual artists use language and surrounds (installation)
Sol LeWitt
(September 9, 1928 - April 8, 2007)
American Artist
Created the "Sentences on Conceptual Art
Regarded as a found of both Minimal and Conceptual Art
Main figures of his time, as he transformed the idea and practice of drawing and changed the relationship between an idea and the art it produces
It is the ideas behind the works that surpass each work itself.
Sculptures and Wall Paintings
"Ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical."
Joseph Kosuth
(January 31, 1945 - present)
Famous for "One and Three Chairs"
Generally strives to explore the nature of art rather than producing what is traditionally called "art"
"The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art"
Five Fives
One and Three Chairs
One and Five
Costruzione cubica
Splotch #22
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