conceptual art

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conceptual art,

art movement that began in the 1960s and stresses the artist's concept rather than the art object itself. Growing out of minimalismminimalism,
schools of contemporary art and music, with their origins in the 1960s, that have emphasized simplicity and objectivity. Minimalism in the Visual Arts
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, conceptual art turned the artist's thoughts and ideas themselves into the primary artistic medium, appealing to the spectator's intellect instead of emotions. The movement was partially a reaction to what many artists considered the overcommercialization of art objects in the moneyed world of art galleries and museums. At times in conceptual art, the tangible work of art is no longer present at all, but consists of a set of instructions, texts, notes, diagrams, or other kinds of documentation. In other cases, an image may be present, but the idea behind it is of greater importance than its execution or physical manifestation.

The term "concept art" first appeared (1961) in a publication by Fluxus, an avant-garde art group, and conceptual art was defined at length (1967) in an article by Sol LeWittLeWitt, Sol
, 1928–2007, American artist, b. Hartford, Conn. LeWitt, who came into prominence in the 1960s, termed his work conceptual art, emphasizing that the idea or concept that animates each work is its most important aspect.
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, one of the movement's best-known adherents. Among the other artists associated with the movement are Joseph Kosuth, Bruce NaumanNauman, Bruce
, 1941–, American artist, b. Fort Wayne, Ind., B.A. Univ. of Wisconsin, Madison (1964), M.F.A. Univ. of California, Davis (1966). One of the most innovative and influential contemporary American artists, he was partially responsible for restoring political,
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, Robert MorrisMorris, Robert
(Robert Eugene Morris), 1931–2018, American artist, b. Kansas City, Mo., studied Kansas City Art Institute, California School of Fine Arts, Reed College. He settled in New York City in 1959.
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, On Kawara, and members of Britain's Art and Language movement. Many of the works of art of this movement were conceptualized by the artists but executed by craftsmen who worked at the artists' direction. The ideas that fueled the conceptual art movement of the 1960s and 70s continued to influence and animate the work of many artists of the late 20th and early 21st cent. See also contemporary artcontemporary art,
the art of the late 20th cent. and early 21st cent., both an outgrowth and a rejection of modern art. As the force and vigor of abstract expressionism diminished, new artistic movements and styles arose during the 1960s and 70s to challenge and displace
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References in periodicals archive ?
This movement was started in 1999 by British artists Billy Childish and Charles Thomson as a reaction to 'conceptual art'.
"Conceptual art, such as that made by this chap Creed, communicates nothing and if he says that his work is about 'nothing' then that's a nonsense in itself, " said Sir Kyffin.
His latest idea of a conceptual art work is also bizarre, but at the same time compelling.
(Most arresting in the latter category is the manuscript for Sol LeWitt's foundational 1968 essay "Sentences on Conceptual Art.") Throughout the exhibition we saw the collectors--principally Herman Daled--investigating their own role and status, and even undermining market efficiency through their co-involvement in the activities of production and display.
That Schjeldahl's review is of two concurrent group exhibitions from that summer--"Information" at the Museum of Modern Art and "Conceptual Art and Conceptual Aspects" at the New York Cultural Center--and singles out Kosuth, featured in both, as the "most didactic practitioner and passionate theoretician" of "Conceptual Art," was made all the more conspicuous by a vitrine of archival documents revealing that the artist ghost-curated the latter show.
The title of the show, "The world is full of objects"--a reference to Douglas Huebler's ironic 1969 statement "The world is full of objects, more or less interesting; I do not wish to add any more," which Springfield rendered from Ursula Meyer's Conceptual Art, 1972--belies her interest in making drawings.
This is why her work went well beyond the rather narrow confines of the Poesia Visiva (visual poetry) movement, which was particularly active in the '60s and '70s in Florence, where she lived, and which could be defined as an offshoot of Conceptual art, often employed in Dadaist fashion, with certain ideological/political overtones.
Oppenheim's work could be seen as critical dialogue with various attempts to make art legible by subjecting it to a linguistic model--from Panofskyan iconology to the Conceptual art of the era from which the alphabet posters stem.
1970" was the latest installment in a string of exhibitions dealing with the '60s and '70s, many focused on Conceptual art: "L'Art conceptuel, une perspective" (Musee d'Art Moderne de la Ville de Paris, 1989); "1965-1975: Reconsidering the Object of Art" (Museum of Contemporary Art, Los Angeles, 1995); "Global Conceptualism: Points of Origin, 1950s-1980s" (Walker Art Center, Minneapolis, 1999); and "Live in Your Head: Concept and Experiment in Britain, 1965-75" (Whitechapel Art Gallery, London, 2000).
Filmed in part from passing subway cars, cutting to close-ups of a goggle-wearing Hobza manhandling an archaic switching device, it's a deceptively smart work that binds together the erotics of silent communication, a love of '70s Conceptual art both self-conscious and genuine, and a love of New York.
But she notes a contradictory trend, too--namely, younger artists' ongoing fascination with Conceptual art, and Conceptual performance in particular, in all its antispectacle grittiness: "Everyone is looking at the '70s and realizing that most of this work is performance.
Recording Conceptual Art, Alexander Alberro's 2001 edition of Patricia Norvell's fascinating 1969 audio interviews, helps recall the mellow Other to Conceptual art's frequently stern diagrammatics: Dennis Oppenheim's sunburns, Robert Barry's belief in telepathy and the invisible, and Stephen J.

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