Beruflich Dokumente
Kultur Dokumente
A-Conceptual Art is the Prioritization of the Idea over the Object in a Work of Art
B-It reached both its apogee and its crisis in the years 1966-1972
C-The term came into general use in 1967 (Sol LeWitt)
D-Some form of Conceptual Art has existed throughout the 20th century (Duchamp)
E-Almost all art since the 1970s has or claims to have a Conceptual component
F-In prior great art the Object and/or the Process is prioritized over the Idea
Origins:
A-Readymade: repurposed object from the outside world; no uniqueness or artist’s hand
B-an Intervention: image, text or thing placed in an Unexpected Context
C-use of Documentation (usually photography)
D-use of Words: the concept, proposition or investigation is presented as language
A-Seth Siegelaub: dealer, curator, activist, inventor of the Xerox book (1968)
B-his artists: Andre, Barry, Huebler, Kosuth, LeWitt, Morris, Weiner
C-Lawrence Weiner’s “Statement of Intent,” 1968 (first printed in “Attitudes”)
D-exposure of group in Harald Szeemann’s “When Attitudes Become Form,” Bern, 1969
E-Kosuth “Art After Philosophy,” replaces the viewer with a reader, 1969
F-Art & Language group in England, 1967- now; Journal of Conceptual Art, 1969
Whether Mr. Mutt with his own hands made the fountain or not has no importance. He
CHOSE it. He took an ordinary article of life, placed it so that its useful significance
disappeared under the new title and point of view—created a new thought for that
object.”—Marcel Duchamp, The Blind Man, v.2, 1917
The creative act is not performed by the artist alone; the spectator brings the work in
contact with the external world by deciphering and interpreting its inner qualifications
and thus adds his contribution to the creative act.—Marcel Duchamp, 1955
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 the planning and decisions are made
beforehand and the execution is a perfunctory affair. The idea becomes a machine that
makes the art.—Sol LeWitt, Paragraphs on Conceptual Art, Artforum, June 1967
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.
“The ‘purest’ definition of conceptual art would be that it is inquiry into the foundations
of the concept of ‘art’, as it has come to mean.”—Joseph Kosuth, Art After Philosophy,
1969 in Studio International
Conceptual art, for me, means work in which the idea is paramount and the material is
secondary, lightweight, ephemeral, cheap, unpretentious, and/or dematerialized.
—Lucy Lippard, Reconsidering the Object of Art: 1965-1975, 1995
Conceptual Art, simply put, had as its basic tenet an understanding that artists work with
meaning, not with shapes, colors, or materials—Joseph Kosuth, 1996
REFERENCES
Claire Bishop, Benjamin Buchloh, Germano Celant, Miuccia Prada et al.: WHEN
ATTITUDES BECOME FORM: Bern 1969/Venice 2013, Fondazione Prada, Venice,
2013
Hal Foster, Rosalind Krauss, Yves-Alain Bois & Benjamin H.D. Buchloh: ART SINCE
1900, Modernism, Antimodernism, Postmodernism, Thames & Hudson, New York, 2004
Roger White: THE CONTEMPORARIES, Travels in the 21st Century Art World,
Bloomsbury, New York, 2015