Conceptual art

Conceptual art
Conceptual art is art in which the concept(s) or idea(s) involved in the
work take precedence over traditional aesthetic and material concerns.
Many of the works, sometimes called installations, of the artist Sol
LeWitt may be constructed by anyone simply by following a set of
written instructions.[1] This method was fundamental to LeWitt's
definition of Conceptual art, one of the first to appear in print:

Joseph Kosuth, One and Three Chairs (1965)

In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of
the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.

[2]
Sol LeWitt

Tony Godfrey, author of "Conceptual Art" (1998), asserts that conceptual art questions the nature of art,[3] a notion
that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, "Art after
Philosophy" (1969). The notion that art should examine its own nature was already a potent aspect of (the influential
art critic) Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively
language-based art in the 1960s, however, conceptual artists such as Joseph Kosuth, Lawrence Weiner and the
English Art & Language group began a far more radical interrogation of art than was previously possible (see
below). One of the first and most important things they questioned was the common assumption that the role of the
artist was to create special kinds of material objects.[4] [5] [6]
Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage,
particularly in the UK, "conceptual art" came to denote all contemporary art that does not practise the traditional
skills of painting and sculpture.[7] It could be said that one of the reasons why the term "conceptual art" has come to
be associated with various contemporary practices far removed from its original aims and forms lies in the problem
of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like
the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused
with "intention." Thus, in describing or defining a work of art as conceptual it is important not to confuse what is
referred to as "conceptual" with an artist's "intention."

Conceptual art

History
The French artist Marcel Duchamp paved the way for the
conceptualists, providing them with examples of prototypically
conceptual works the readymades, for instance. The most famous of
Duchamp's readymades was Fountain (1917), a standard urinal basin
signed by the artist with the pseudonym "R.Mutt", and submitted for
inclusion in the annual, un-juried exhibition of the Society of
Independent Artists in New York (it was rejected).[8] In traditional
terms, a commonplace object such as a urinal cannot be said to be art
because it is not made by an artist or with any intention of being art,
nor is it unique or hand-crafted. Duchamp's relevance and theoretical
importance for future "conceptualists" was later acknowledged 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
only exists conceptually."
In 1956, recalling the infinitesimals of G.W. Leibniz, quantities which
Marcel Duchamp, Fountain, 1917. Photograph by
could not actually exist except conceptually, the founder of Lettrism,
Alfred Steiglitz
Isidore Isou, developed the notion of a work of art which, by its very
nature, could never be created in reality, but which could nevertheless
provide aesthetic rewards by being contemplated intellectually. Also called Art esthapriste ('infinite-aesthetics').
Related to this, and arising out of it, is excordism, the current incarnation of the Isouian movement, defined as the
art of the infinitely large and the infinitely small.
In 1961 the term "concept art," coined by the artist Henry Flynt in his article bearing the term as its title, appeared in
a Fluxus publication.[9] However it assumed a different meaning when employed by Joseph Kosuth and the English
Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry into
the artist's social, philosophical and psychological status. By the mid-1970s they had produced publications, indexes,
performances, texts and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects, the first dedicated
conceptual art exhibition, was mounted at the New York Cultural Center.[10]

The Critique of Formalism and the Commodification of Art

Conceptual art emerged as a movement during the 1960s. In part, it was a reaction against formalism as it was then
articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a
process of progressive reduction and refinement toward the goal of defining the absolutely essential, formal nature of
each medium. Those elements that ran counter to this nature were to be reduced. The task of painting, for example,
was to define precisely what kind of object a painting truly is: what makes it a painting and nothing else? As it is of
the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as
figuration, 3-D perspective illusion and references to external subject matter were all found to be extraneous to the
essence of painting, and ought to be removed.[11]
Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects
altogether,[12] while others, including many of the artists themselves, saw conceptual art as a radical break with
Greenberg's kind of formalist Modernism. Later artists continued to share a preference for art to be self-critical, as
well as a distaste for illusion. However, by the end of the 1960s it was certainly clear that Greenberg's stipulations
for art to continue within the confines of each medium and to exclude external subject matter no longer held
traction.[13]

Conceptual art
Conceptual art also reacted against the commodification of art; it attempted a subversion of the gallery or museum as
the location and determiner of art, and the art market as the owner and distributor of art. Lawrence Weiner said:
"Once you know about a work of mine you own it. There's no way I can climb inside somebody's head and remove
it." Many conceptual artists' work can therefore only be known about through documentation which is manifested by
it, e.g. photographs, written texts or displayed objects, which some might argue are not in themselves the art. It is
sometimes (as in the work of Robert Barry, Yoko Ono, and Weiner himself) reduced to a set of written instructions
describing a work, but stopping short of actually making itemphasising that the idea is more important than the
artifact.

Language and/as art

Language was a central concern for the first wave of conceptual artists
of the 1960s and early 1970s. Although the appearance of text in art
was by no means novel, it was not until the 1960s that the artists
Lawrence Weiner, Edward Ruscha,[14] Joseph Kosuth, Robert Barry,
and the English Art & Language group began to produce art by
exclusively linguistic means. Where previously language was
presented as one kind of visual element alongside others, and
Lawrence Weiner. Bits & Pieces Put Together to
subordinate to an overarching composition (see for example Synthetic
Present
a Semblance of a Whole, The Walker Art
Cubism), the conceptual artists used language in place of brush and
Center, Minneapolis, 2005.
[15]
canvas, and allowed it to signify in its own right.
Of Lawrence
Weiner's works Anne Rorimer writes, "The thematic content of
individual works derives solely from the import of the language employed, while presentational means and
contextual placement play crucial, yet separate, roles."[16]
The British philosopher and theorist of conceptual art Peter Osborne suggests that among the many factors that
influenced the gravitation toward language-based art, of vital importance for conceptualism was the turn to linguistic
theories of meaning in both Anglo-American analytic philosophy, and structuralist and post structuralist Continental
philosophy during the middle of the twentieth century. This linguistic turn "reinforced and legitimized" the direction
the conceptual artists took.[17] Osborne also notes that the early conceptualists were the first generation of artists to
complete degree-based university training in art.[18]

Conceptual Art and Artistic Skill

"By adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language
were able to sweep aside the vestiges of authorial presence manifested by formal invention and the
handling of materials."[16]
An important difference between conceptual art and more "traditional" forms of art-making goes to the question of
artistic skill. Although it is often the case that skill in the handling of traditional media plays little role in conceptual
art, it is difficult to argue that no skill is required to make conceptual works, or that skill is always absent from them.
John Baldessari, for instance, has presented realist pictures that he commissioned professional sign-writers to paint;
and many conceptual performance artists (e.g. Stelarc, Marina Abramovic) are technically accomplished performers
and skilled manipulators of their own bodies. It is thus not so much an absence of skill or hostility toward tradition
that defines conceptual art as an evident disregard for conventional, modern notions of authorial presence and
individual artistic expression (or genius).

Conceptual art

Contemporary Influence
The first wave of the "conceptual art" movement extended from approximately 1967 to 1978. Early "concept" artists
like Henry Flynt, Robert Morris, and Ray Johnson influenced the later, widely accepted movement of conceptual art.
Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner have proven very influential on subsequent
artists, and well known contemporary artists such as Mike Kelley or Tracey Emin are sometimes labeled "second- or
third-generation" conceptualists, or "post-conceptual" artists.
Many of the concerns of the conceptual art movement have been taken up by contemporary artists. While they may
or may not term themselves "conceptual artists", ideas such as anti-commodification, social and/or political critique,
and ideas/information as medium continue to be aspects of contemporary art, especially among artists working with
installation art, performance art, net.art and electronic/digital art.

Controversy in the UK
In Britain, the rise to prominence of the Young British Artists (YBAs)
after the 1988 Freeze show, curated by Damien Hirst, and subsequent
promotion of the group by the Saatchi Gallery during the 1990s,
generated a media backlash, where the phrase "conceptual art" came to
be a term of derision applied to much contemporary art. This was
amplified by the Turner Prize whose more extreme nominees (most
notably Hirst and Emin) caused a controversy annually.[7]
The Stuckist group of artists, founded in 1999, proclaimed themselves
Stuckist artists leave a coffin, marked "The death
"pro-contemporary figurative painting with ideas and anti-conceptual
of conceptual art", outside the White Cube gallery
art, mainly because of its lack of concepts." They also called it
in Shoreditch, July 25, 2002.
pretentious, "unremarkable and boring" and on July 25, 2002 deposited
a coffin outside the White Cube gallery, marked "The Death of Conceptual Art".[19] [20] They staged yearly
demonstrations outside the Turner Prize.
In 2002, Ivan Massow, the Chairman of the Institute of Contemporary Arts branded conceptual art "pretentious,
self-indulgent, craftless tat" and in "danger of disappearing up its own arse ... led by cultural tsars such as the Tate's
Sir Nicholas Serota."[21] Massow was consequently forced to resign. At the end of the year, the Culture Minister,
Kim Howells (an art school graduate) denounced the Turner Prize as "cold, mechanical, conceptual bullshit".[22]
In October 2004 the Saatchi Gallery told the media that "painting continues to be the most relevant and vital way that
artists choose to communicate."[23]

Conceptual art

Notable examples of conceptual art

1953 : Robert Rauschenberg exhibits Erased De
Kooning Drawing, a drawing by Willem De
Kooning which Rauschenberg erased. It raised
many questions about the fundamental nature of
art, challenging the viewer to consider whether
erasing another artist's work could be a creative
act, as well as whether the work was only "art"
because the famous Rauschenberg had done it.
1956 : Isidore Isou introduces the concept of
infinitesimal art in Introduction une esthtique
imaginaire (Introduction to Imaginary Aesthetics).
1957: Yves Klein, Aerostatic Sculpture (Paris).
This was composed of 1001 blue balloons
released into the sky from Galerie Iris Clert to
promote his Proposition Monochrome; Blue
Epoch exhibition. Klein also exhibited 'One
Minute Fire Painting' which was a blue panel into
which 16 firecrackers were set. For his next major
exhibition, The Void in 1958, Klein declared that
his paintings were now invisible and to prove it he
exhibited an empty room.

Yves Klein Le Vide (The Void) displayed at the Iris Clert Gallery 1958

1960: Yves Klein's action called A Leap Into The

Void, in which he attempts to fly by leaping out of
a window. He stated: "The painter has only to
create one masterpiece, himself, constantly."
1960: The artist Stanley Brouwn declares that all
Robert Rauschenberg, Portrait of Iris Clert 1961
the shoe shops in Amsterdam constitute an
exhibition of his work. In Vancouver, Iain and
Ingrid Baxter of N.E. Thing Co. exhibited the contents of a four room apartment wrapped in plastic bags.
1961: Robert Rauschenberg sent a telegram to the Galerie Iris Clert which said: 'This is a portrait of Iris Clert if I
say so.' as his contribution to an exhibition of portraits.
1961: Piero Manzoni exhibited Artist's shit, tins purportedly containing his own feces (although since the work
would be destroyed if opened, no-one has been able to say for sure). He put the tins on sale for their own weight
in gold. He also sold his own breath (enclosed in balloons) as Bodies of Air, and signed people's bodies, thus

Conceptual art

declaring them to be living works of art either for

all time or for specified periods. (This depended
on how much they are prepared to pay). Marcel
Broodthaers and Primo Levi are amongst the
designated 'artworks'.
1962: Christo's Iron Curtain work. This consists
of a barricade of oil barrels in a narrow Paris
street which caused a large traffic jam. The
artwork was not the barricade itself but the
resulting traffic jam.
1962: Yves Klein presents Immaterial Pictorial
Sensitivity in various ceremonies on the banks of
the Seine. He offers to sell his own 'pictorial
sensitivity' (whatever that was, he did not define
it) in exchange for gold leaf. In these ceremonies
the purchaser gave Klein the gold leaf in return for
a certificate. Since Klein's sensitivity was
immaterial, the purchaser was then required to
burn the certificate whilst Klein threw half the
gold leaf into the Seine. (There were seven
purchasers.)

Flute Solo Disassembling Assembling by George Brecht, 1962. This

copy in Water Yam

1962: Piero Manzoni created The Base of the

World, thereby exhibiting the entire planet as his
artwork.
1963: George Brecht's collection of Event-Scores,
Water Yam, is published as the first Fluxkit by
George Maciunas.
1963: Henry Flynts article Concept Art is
published in "An Anthology of Chance
Operations"; a collection of artworks and concepts
Jacek Tylicki, Stone sculpture, "Give If You Can - Take If You Have
by artists and musicians that was published by
To". Palolem Island, India, 2008
Jackson Mac Low and La Monte Young (ed.).
"An Anthology of Chance Operations" documented the development of Dick Higgins vision of intermedia art in
the context of the ideas of John Cage and became an early Fluxus masterpiece. Flynt's "concept art" devolved
from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics.
1964: Yoko Ono publishes Grapefruit: A Book of Instructions and Drawings. An example of Heuristic art, or a
series of instructions for how to obtain an aesthetic experience.
1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest
against the values of Clement Greenberg's Art and Culture (much praised and taught in London's St. Martin's
School of Art where Latham taught). Pages of Greenberg's book (borrowed from the college library) are chewed
by the students, dissolved in acid and the resulting solution returned to the library bottled and labelled. Latham
was then fired from his part-time position.
Joseph Kosuth dates the concept of One and Three Chairs in the year 1965. The presentation of the work consists
of a chair, its photo and a blow up of a definition of the word "chair". Kosuth has chosen the definition from a
dictionary. Four versions with different definitions are known.

Conceptual art
1967: Sol LeWitts Paragraphs on Conceptual Art were published by the American art journal Artforum. The
Paragraphs mark the progression from Minimal to Conceptual Art.
1968: Lawrence Weiner relenquishes the physical making of his work and formulates his "Declaration of Intent,"
one of the most important conceptual art statements following LeWitt's "Paragraphs on Conceptual Art." The
declaration, which underscores his subsequent practice reads: "1. The artist may construct the piece. 2. The piece
may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the
decision as to condition rests with the receiver upon the occasion of receivership."
1969: Robert Barry's Telepathic Piece of which he said 'During the exhibition I will try to communicate
telepathically a work of art, the nature of which is a series of thoughts that are not applicable to language or
image'.
The first issue of "Art-Language" is published in May. It is subtitled as "The Journal of conceptual art" and edited
by Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell. The editors are English members of
the artists group Art & Language.
The English journal "Studio International" published Joseph Kosuths article "Art after Philosophy" in three parts
(OctoberDecember). It became the most discussed article on "Conceptual Art".
1970: Painter John Baldessari exhibits a film in which he sets a series of erudite statements by Sol LeWitt on the
subject of conceptual art to popular tunes like 'Camptown Races' and 'Some Enchanted Evening'.
1970: Douglas Huebler exhibits a series of photographs which were taken every two minutes whilst driving along
a road for 24 minutes.
1970: Douglas Huebler asks museum visitors to write down 'one authentic secret'. The resulting 1800 documents
are compiled into a book which, by some accounts, makes for very repetitive reading as most secrets are similar.
1971: Hans Haacke's 'Real Time Social System'. This piece of systems art detailed the real estate holdings of the
third largest landowners in New York City. The properties were mostly in Harlem and the Lower East Side, were
decrepit and poorly maintained, and represented the largest concentration of real estate in those areas under the
control of a single group. The captions gave various financial details about the buildings, including recent sales
between companies owned or controlled by the same family. The Guggenheim museum cancelled the exhibition,
stating that the overt political implications of the work constituted "an alien substance that had entered the art
museum organism". There is no evidence to suggest that the trustees of the Guggenheim were linked financially
to the family which was the subject of the work.
1972: Fred Forest buys an area of blank space in the newspaper Le Monde and invites readers to fill it with their
own works of art.
1974: Cadillac Ranch near Amarillo, Texas.
1975-76: Three issues of the journal "The Fox" were published in New York. The editor was Joseph Kosuth. "The
Fox" became an important platform for the American members of Art & Language. Karl Beveridge, Ian Burn,
Sarah Charlesworth, Michael Corris, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith wrote
articles which thematized the context of contemporary art. These articles exemplify the development of an
institutional critique within the inner circle of Conceptual Art. The criticism of the art world integrates social,
political and economic reasons.
1977: Walter De Maria's 'Vertical Earth Kilometer' in Kassel, Germany. This was a one kilometer brass rod which
was sunk into the earth so that nothing remained visible except a few centimeters. Despite its size, therefore, this
work exists mostly in the viewer's mind.
1977: John Fekner creates hundreds of environmental and conceptual outdoor works consisting of stenciled
words, symbols, dates and icons spray painted in New York, Sweden, Canada, England and Germany.

Conceptual art

1989: Christopher Williams' Angola to Vietnam is first exhibited. The work consists of a series of black-and-white
photographs of glass botanical specimens from the Botanical Museum at Harvard University, chosen according to
a list of the thirty-six countries in which political disappearances were known to have taken place during the year
1985.
1990: Ashley Bickerton and Ronald Jones included in "Mind Over Matter: Concept and Object" exhibition of
third generation Conceptual artists at the Whitney Museum of American Art.[24]
1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro
Pictures Gallery.[25]
1991: Charles Saatchi funds Damien Hirst and the next year in the Saatchi Gallery exhibits his The Physical
Impossibility of Death in the Mind of Someone Living, a shark in formaldehyde in a vitrine.
1992: Maurizio Bolognini starts to "seal" his Programmed Machines: hundreds of computers are programmed and
left to run ad infinitum to generate inexhaustible flows of random images which nobody would see.[26]
1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called
'Tournez mange' (The Dating Game) where the female presenter asked him who he was, to which he replied: 'A
multimedia artist'. Laurette had sent out invitations to an art audience to view the show on TV from their home,
turning his staging of the artist into a performed reality.
1993: Vanessa Beecroft holds her first performance in Milan, Italy, using models to act as a second audience to
the display of her diary of food.
1999: Tracey Emin is nominated for the Turner Prize. Part of her exhibit is My Bed, her dishevelled bed,
surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
2001: Martin Creed wins the Turner Prize for The Lights Going On and Off, an empty room in which the lights go
on and off.[27]
2004: Andrea Fraser's video Untitled, a document of her sexual encounter in a hotel room with a collector (the
collector having agreed to help finance the technical costs for enacting and filming the encounter) is exhibited at
the Friedrich Petzel Gallery. It is accompanied by her 1993 work Don't Postpone Joy, or Collecting Can Be Fun,
a 27-page transcript of an interview with a collector in which the majority of the text has been deleted.
2005: Simon Starling wins the Turner Prize for Shedboatshed, a wooden shed which he had turned into a boat,
floated down the Rhine and turned back into a shed again.[28]

Notable conceptual artists

Vikky Alexander

John Fekner

John Latham

Art & Language

Henry Flynt

Matthieu Laurette

Marina Abramovi

Andrea Fraser

Sol LeWitt

Billy Apple

Kendell Geers

Mark Lombardi

Shusaku Arakawa

Thierry Geoffroy

Piero Manzoni

Michael Asher

Gilbert and George

Danny Matthys

Mireille Astore

Allan Graham

Allan McCollum

John Baldessari

Dan Graham

Cildo Meireles

Artur Barrio

Hans Haacke

Marta Minujn

Robert Barry

Iris Hussler

Bruce Nauman

Lothar Baumgarten

Oliver Herring

Yoko Ono

Joseph Beuys

Jenny Holzer

Dennis Oppenheim

Mel Bochner

Greer Honeywill

Adrian Piper

Allan Bridge

Zhang Huan

William Pope.L

Marcel Broodthaers

Douglas Huebler

Dmitri Prigov

Conceptual art

Victor Burgin

David Ireland

Martha Rosler

Chris Burden

Ray Johnson

Allen Ruppersberg

Daniel Buren

Ronald Jones

Hiroshi Sugimoto

Sophie Calle

Ilya Kabakov

Stelarc

Roberto Chabet

On Kawara

Tyler Turkle

Martin Creed

Jonathon Keats

Wolf Vostell

Mark Divo

Mary Kelly

Peter Weibel

Marcel Duchamp

Yves Klein

Lawrence Weiner

Olafur Eliasson

Joseph Kosuth

Gillian Wearing

Christopher Williams

Further reading
Books:
Peter Osborne, Conceptual Art (Themes and Movements), Phaidon, 2002 (See also the external links for Robert
Smithson)
Klaus Honnef, Concept Art, Cologne: Phaidon, 1972
Ermanno Migliorini, Conceptual Art, Florence: 1971
Ursula Meyer, ed., Conceptual Art, New York: Dutton, 1972
Gregory Battcock, ed., Idea Art: A Critical Anthology, New York: E. P. Dutton, 1973
Juan Vicente Aliaga & Jos Miguel G. Corts, ed., Arte Conceptual Revisado/Conceptual Art Revisited, Valencia:
Universidad Politcnica de Valencia, 1990
Thomas Dreher, Konzeptuelle Kunst in Amerika und England zwischen 1963 und 1976 (Thesis
Ludwig-Maximilians-Universitt, Mnchen), 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
Tony Godfrey, Conceptual Art, London: 1998
Alexander Alberro & Blake Stimson, ed., Conceptual Art: A Critical Anthology, Cambridge, Mass., London: MIT
Press, 1999
John Roberts, The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, London and New
York: Verso Books, 2007
Michael Newman & Jon Bird, ed., Rewriting Conceptual Art, London: Reaktion, 1999
Anne Rorimer, New Art in the 60s and 70s: Redefining Reality, London: Thames & Hudson, 2001
Daniel Marzona, Conceptual Art, Cologne: Taschen, 2005
Michael Corris, ed., Conceptual Art: Theory, Practice, Myth, Cambridge, Mass.,: Cambridge University Press,
2004
Peter Goldie and Elisabeth Schellekens, Who's afraid of conceptual art?, Abingdon [etc.] : Routledge, 2010. VIII, 152 p. : ill. ; 20cm ISBN 0-415-42281-7 hbk : ISBN 978-0-415-42281-9 hbk : ISBN 0-415-42282-5 pbk :
ISBN 978-0-415-42282-6 pbk
Exhibit catalogues:

January 531, 1969, exh.cat., New York: Seth Siegelaub, 1969

When Attitudes Become Form, exh.cat., Bern: Kunsthalle Bern, 1969
557,087, exh.cat., Seattle: Seattle Art Museum, 1969
Konzeption/Conception, exh.cat., Leverkusen: Stdt. Museum Leverkusen et al., 1969
Conceptual Art and Conceptual Aspects, 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

Conceptual art

Software, exh.cat., New York: Jewish Museum, 1970

Situation Concepts, exh.cat., Innsbruck: Forum fr aktuelle Kunst, 1971
Art conceptuel I, exh.cat., Bordeaux: capcMuse dart contemporain de Bordeaux, 1988
L'art conceptuel, exh.cat., Paris: ARCMuse dArt Moderne de la Ville de Paris, 1989
Christian Schlatter, ed., Art Conceptuel Formes Conceptuelles/Conceptual Art Conceptual Forms, exh.cat., Paris:
Galerie 19002000 and Galerie de Poche, 1990
Reconsidering the Object of Art: 1965-1975, exh.cat., Los Angeles: Museum of Contemporary Art, 1995
Global Conceptualism: Points of Origin, 1950s-1980s, exh.cat., New York: Queens Museum of Art, 1999

Notes and references

[1] Facsimile of original instructions for Wall Drawing 811 by Phil Gleason, with a view of the installed work at Franklin Furnace. October
1996. (http:/ / www. franklinfurnace. org/ history/ flow/ lewitt/ lewitt. html)
[2] "Paragraphs on Conceptual Art", Artforum, June 1967.
[3] Tony Godfrey, Conceptual Art, London: 1998
[4] Joseph Kosuth, "Art After Philosophy" (1969). Reprinted in Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London,
2002. p. 232
[5] Art & Language, Art-Language (journal): Introduction (1969). Reprinted in Osborne (2002) p. 230
[6] Ian Burn, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.g. "The outcome of much of the 'conceptual'
work of the past two years has been to carefully clear the air of objects."
[7] Turner prize history: Conceptual art Tate gallery (http:/ / web. archive. org/ web/ 20041211013930/ http:/ / www. tate. org. uk/ britain/
turnerprize/ history/ issue_conceptual. htm) tate.org.uk. Accessed August 8, 2006
[8] Tony Godfrey, Conceptual Art, London: 1998. p. 28
[9] The first text in which the category "concept art" appeared was written by Henry Flynt around 1961-1963. (http:/ / www. henryflynt. org/
aesthetics/ conart. html)
[10] Artlex.com (http:/ / www. artlex. com/ ArtLex/ c/ conceptualart. html)
[11] Rorimer, p. 11
[12] Lucy Lippard & John Chandler, "The Dematerialization of Art", Art International 12:2, February 1968. Reprinted in Osborne (2002), p. 218
[13] Rorimer, p. 12
[14] "Ed Ruscha and Photography" (http:/ / www. artic. edu/ aic/ exhibitions/ exhibition/ ruscha). The Art Institute of Chicago. March 1June 1,
2008. . Retrieved 14 September 2010.
[15] Anne Rorimer, New Art in the Sixties and Seventies, Thames & Hudson, 2001; p. 71
[16] Rorimer, p. 76
[17] Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28
[18] Osborne (2002), p. 28
[19] stuckism.com (http:/ / www. stuckism. com/ clown2000. html)
[20] Cripps, Charlotte. "Visual arts: Saying knickers to Sir Nicholas (http:/ / findarticles. com/ p/ articles/ mi_qn4158/ is_20040907/
ai_n12797891), The Independent, 7 September 2004. Retrieved from findarticles.com, 7 April 2008.
[21] The Guardian (http:/ / www. guardian. co. uk/ uk_news/ story/ 0,3604,634797,00. html)
[22] The Daily Telegraph (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2002/ 11/ 01/ nart01. xml)
[23] Reynolds, Nigel 2004 "Saatchi's latest shock for the art world is painting" (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/
2004/ 10/ 02/ nsaat02. xml) The Daily Telegraph 10 February 2004. Accessed April 15, 2006
[24] Brenson, Michael (19 October 1990). "Review/Art; In the Arena of the Mind, at the Whitney" (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9C0CEFDA113CF93AA25753C1A966958260& sec=& spon=& pagewanted=all). The New York Times. .
[25] Smith, Roberta. "Art in review: Ronald Jones Metro Pictures" (http:/ / query. nytimes. com/ gst/ fullpage.
html?res=9D0CE2DB1539F934A15751C1A967958260), The New York Times, 27 December 1991. Retrieved 8 July 2008.
[26] Sandra Solimano (ed.) (2005) (in English), Maurizio Bolognini. Programmed Machines 1990-2005, Genoa: Villa Croce Museum of
Contemporary Art, Neos, ISBN8887262470
[27] BBC Online (http:/ / news. bbc. co. uk/ 1/ hi/ entertainment/ arts/ 1698032. stm)
[28] The Times (http:/ / www. timesonline. co. uk/ article/ 0,,2-1905555,00. html)

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Conceptual art

External links
Conceptual Art (http://plato.stanford.edu/entries/conceptual-art) entry by Elisabet Shellekens in the Stanford
Encyclopedia of Philosophy
Sol LeWitt, "Paragraphs on Conceptual Art" (http://www.ddooss.org/articulos/idiomas/Sol_Lewitt.htm)
Conceptualism (http://www.art.dostweb.com/)
pdf file of An Anthology of Chance Operations (1963) (http://ubu.com/historical/young/index.html)
containing Henry Flynt's "Concept Art" essay at UbuWeb
Minus Space.com (http://www.minusspace.com/), reductive and concept-based art
conceptual artists, books on conceptual art and links to further reading (http://the-artists.org/
artistsbymovement/Conceptual-Art/)

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Article Sources and Contributors

Article Sources and Contributors

Conceptual art Source: http://en.wikipedia.org/w/index.php?oldid=425649203 Contributors: $yeti, AQUIMISMO, Aaron045, Adrian Robson, AgitpropDK, Aida CZ, Aldux, Alethe,
Allanmcnyc, Altenmann, Ambulancevoice, Andre Engels, Angelalive, Anngram, Anotheryearinla, Armando Navarro, Aroundthewayboy, Arsene, Art&concepts, Art4em, Artclay, Artintegrated,
Auteurdevie, Avantguarde, Aviados, BTfromLA, Beatesandor, BenFrantzDale, Blakeud, Bloodofox, Bubbahey, BullRangifer, Bus stop, Camembert, Captaindavidson, Charivari,
Chopchopwhitey, Chris Roy, Christina Staub, ClassA, Clubmarx, CommonsDelinker, Cowboy456, Cryoboy, Curator2000, D0762, DVD R W, DanielRigal, Dart evader, Deadchildstar, Diannaa,
Discospinster, Dogears, Dr.heintz, DrGML, Drewcifer3000, Ecoartnet, Ed Shanken, EidM, Elithea, Emanuel Kingsley, Epinette M, Esnelson, Ethicoaestheticist, Eug, Fearfulsymmetry,
Flyguy649, Franciselliott, Freshacconci, Friedco, Gaius Cornelius, Garvinpr, Gregbard, Grhabyt, Guerrillagirlz, HISTOIRE ET D'ART, Haakon, Hakeem.gadi, Hearst78, Huvias, I.A.Contino,
Icarus of old, Ida Shaw, Immunize, Internow, Invertebra, Isquitenice, J.A.Burrell, JFMS, Jahsonic, James Log, Jeffmilner, JenSilver, Jni, JoanneB, Joaquin A., JoeSmack, Joebunkeo, Jossi,
Jujutacular, Junjk, Justin Foote, Kieff, Killick, Kipof, Kramer J, Labeinnale, Laurascudder, Lauriehaycock, Lestrade, Lisatruman, Lord High Munchkin, Lou Riguis, Maddoctor, Mandarax,
Manuel Anastcio, Manuel128, Marcus22, MarylandArtLover, Mato, Mattis, Mbuitron, Mcameronboyd, Mdd, Mecarroll, Meldor, Mervyn, Michelangeloh, Mild Bill Hiccup, Modernist, Momirt,
Mostyn, Mtribe, Mycotn, Nancy, Navstar, Neelix, Neg, Newton-noze, NoMass, Noccie, Nofoto, OddArt, Okc, Originale, Ozero22, Palletknife, Park lane1212, PaulGriffinArtArchivist,
Pax:Vobiscum, Pbjonathanesquire, Pbryant, Pepso, Peterfoxny, Philip Trueman, Phoe, Pink!Teen, Pitor2, Planetneutral, Pliny, Postdlf, Pragmatic.fool, PrimusNirvana, Prof saxx, Prsephone1674,
Ralphwiggam75, Rasmus Faber, Research Method, Robertsan, Rocksaid82, Routinerob!, RuthieK, S.dedalus, SCEhardt, Sarigreene, Sean3000, See to, Seidenstud, SelfStudyBuddy,
Servicerecherche, Setwisohi, Showoffsg, Skierpage, Smithtone, Smjg, Soane, Some jerk on the Internet, Sparkit, Sparklephobia, Spinster, Steelandglass, Steipe, Stevage, Tahmoores, Taxisfolder,
Teapotgeorge, That Guy, From That Show!, Thegirlinwhite, Thepress, Trackway, Trexsf, Trugster, Twas Now, Tyrenius, Ubu Roi, Valueyou, Vasi, Vingerhoet, WLU, Wembwandt,
Whitenoise666, Xeno, Yconnan, Znethru, Zxconcept, \rm dV \infty, 399 anonymous edits

Image Sources, Licenses and Contributors

Image:Kosuth OneAndThreeChairs.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Kosuth_OneAndThreeChairs.jpg License: unknown Contributors: Joseph Kosuth
File:Duchamp Fountaine.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Duchamp_Fountaine.jpg License: Public Domain Contributors: Abiyoyo, DarkEvil, Eusebius, Ignacio
Icke, Infrogmation, Mircea, Piero, Progettualita, Ronaldino, Talmoryair, Yann, 7 anonymous edits
Image:WeinerText.JPG Source: http://en.wikipedia.org/w/index.php?title=File:WeinerText.JPG License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:GearedBull
Image:Stuckists Death of Conceptual Art demo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Stuckists_Death_of_Conceptual_Art_demo.jpg License: GNU Free Documentation
License Contributors: Kipof, Schekinov Alexey Victorovich, Tyrenius
Image:Le Vide.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Le_Vide.jpg License: unknown Contributors: Drewcifer3000
Image:Iris Clert Portrait Rauschenberg.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Iris_Clert_Portrait_Rauschenberg.jpg License: unknown Contributors: Drewcifer3000, 1
anonymous edits
Image:Flute solo.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Flute_solo.jpg License: unknown Contributors: Franciselliott
Image:Give-if-you-can.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Give-if-you-can.jpg License: Free Art License Contributors: User:Tylicki

License
Creative Commons Attribution-Share Alike 3.0 Unported
http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/

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