Joseph Kosuth and Bruce Nauman Were Heavily Influenced by and Included References to the Art of

Conceptual Fine art

Conceptual art is defined by concepts or ideas taking precedence over traditional aesthetic and fabric concerns.

Learning Objectives

Relate the evolution of conceptual art to both ceremonial and the dematerialization of fine art

Key Takeaways

Cardinal Points

• Conceptual art emerged every bit a motion during the 1960s. In function, it was a reaction against formalism articulated by the influential New York art critic Clement Greenberg.
• Some take argued that conceptual fine art continued this dematerialization of art by removing the demand for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg'south formalist modernism.
• French artist Marcel Duchamp paved the way for the conceptualists, providing examples of prototypically conceptual works such as his ready-mades.
• Conceptual artists began a far more than radical interrogation of fine art than was previously possible. Ane of the first and most important things they questioned was the common supposition that the part of the artist was to create special kinds of material objects.
• The notion that art should examine its own nature was already a strong aspect of the influential art critic Cloudless Greenberg'due south vision of modern art during the 1950s.

Primal Terms

• conceptualist: An creative person involved in the conceptualism move.
• dematerialization: The deed or process of dematerializing.

Ceremonial, Dematerialization and the Commodification of Fine art

Conceptual art is divers by the concepts of a work taking precedence over the traditional aesthetic and material concerns. Information technology began to emerge as a movement during the 1960s, in part as a reaction against formalism as then articulated past 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 essential, formal nature of each medium. The task of painting, for example, was to define precisely what kind of object a painting truly is: what makes it a painting and null else. For instance, if the nature of paintings is as flat sail objects onto which colored pigment is practical, elements such as figuration, 3-D perspective illusion, and references to external bailiwick affair were extraneous to the essence of painting and should thus be removed.

Some have argued that conceptual art continued this dematerialization of art past removing the need for objects altogether while others, including many of the artists themselves, saw conceptual art as a radical pause with Greenberg's formalist modernism. Later artists continued to share a preference for art to be self-critical and a distaste for illusion. Notwithstanding, past the end of the 1960s it was clear that Greenberg's stipulations for art to proceed within the confines of each medium and exclude external subject matter no longer held traction. Lucy Lippard, an internationally known writer, art critic, activist and curator from the U.s.a., was amid the first writers to recognize the dematerialization at work in conceptual art and was an early champion of feminist art. Her book Six Years: The Dematerialization of the Art Object from 1966 to 1972 remains a seminal text on the subject.

Conceptual art also reacted against the commodification of fine art, attempting subversion of the gallery or museum every bit the location and determiner of art and the art market equally the owner and distributor of fine art. Many conceptual artists' work tin therefore simply be known through documentation such as photographs, written texts, or displayed objects, which some might argue are not in themselves the art. Conceptual art is sometimes reduced to a set of written instructions describing a work without actually making information technology, emphasizing the notion of the thought every bit more important than the artifact.

Precursors

French artist Marcel Duchamp paved the way for the conceptualists, providing examples of prototypically conceptual works such every bit the ready-mades. The most famous of Duchamp's ready-mades was Fountain (1917), a standard urinal basin signed past the creative person with the pseudonym "R.Mutt" and submitted for inclusion in the annual, unjuried exhibition of the Guild of Independent Artists in New York. (It was rejected.) In traditional terms, a commonplace object such equally a urinal cannot be art because it is not made past an artist or with any intention of being art, nor is it unique or handcrafted. Duchamp's relevance and theoretical influence for future "conceptualists" was later acknowledged by US artist Joseph Kosuth in his 1969 essay, "Art After Philosophy," when he wrote, "All fine art (afterward Duchamp) is conceptual (in nature) because fine art but exists conceptually. "

Marcel Duchamp, Fountain: Duchamp's cribbing of a urinal as a slice of art challenged the prevailing definition of sculpture.

Historical Examples

In 1953, artist Robert Rauschenberg created Erased De Kooning Cartoon, which was literally a drawing by Willem de Kooning that Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could exist a artistic act, as well as whether the work was only "art" because the famous Rauschenberg had done it.

In 1960, Yves Klein carried out an activeness called A Leap Into The Void, in which he attempted to wing by leaping out of a window. As with much of conceptual fine art, the performance is largely presented through its documentation.  In 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. In 1969, Vito Acconci created Following Piece, in which he followed random members of the public until they disappeared into a private space. The slice is presented as photographs.

Gimmicky Influence

The kickoff moving ridge of the conceptual art movement extended from approximately 1967 to 1978. Early on concept artists like Henry Flynt, Robert Morris, and Ray Johnson influenced the subsequently movement of conceptual fine art. Conceptual artists like Dan Graham, Hans Haacke, and Lawrence Weiner have proven influential on subsequent artists, and well-known contemporary artists such equally Mike Kelley and Tracey Emin are sometimes labeled second- or tertiary-generation conceptualists or postal service-conceptual artists.

Gimmicky artists accept addressed many of the concerns of the conceptual art movement. 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 go along to be aspects of contemporary art, especially among artists working with installation fine art, performance art, internet art, and electronic/digital art.

Minimalism

The term minimalism is used to describe a tendency in design and architecture in which the subject field is reduced to its necessary elements.

Learning Objectives

Describe the elements of minimalist architecture and pattern and the influence of Japanese tradition

Cardinal Takeaways

Primal Points

• Minimalist design has been highly influenced past Japanese traditional blueprint and compages. In addition, the work of De Stijl artists is a major source of reference for this mode.
• The term minimalism dates to the early 19th century and gradually became an important motility in response to the ornate design of the previous period. Minimalist compages became popular in the tardily 1980s in London and New York.
• The concept of minimalist architecture is to strip everything down to its essential qualities to reach simplicity.
• Zen concepts of simplicity transmit the ideas of liberty and essence of living. Simplicity is not only an aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities of materials and objects.

Primal Terms

• Zen: A philosophy of calm reminiscent of that of the Buddhist denomination.
• aesthetic: Concerned with dazzler, artistic impact, or appearance.

The term minimalism tin can exist used to describe a tendency in blueprint and architecture in which the subject is reduced to only its necessary elements. Minimalist design in the west has been highly influenced past Japanese traditional blueprint and architecture. In addition, the work of De Stijl artists is a major source of reference for this mode. De Stijl expanded the ideas that could be expressed by using basic elements such equally lines and planes organized in very particular manners.

Barcelona Pavilion: The reconstruction of Ludwig Mies van der Rohe's High german Pavilion in Barcelona is minimalist in its use of infinite and pared down architectural elements.

Builder Ludwig Mies van der Rohe adopted the motto "less is more" to draw his aesthetic of arranging the numerous necessary components of a building to create an impression of extreme simplicity. By enlisting every element and detail to serve multiple visual and functional purposes, such as designing a flooring to likewise serve equally the radiator or a massive fireplace to also firm the bathroom, spaces become visually pared down and highly functional.

Minimalist architecture became popular in the late 1980s in London and New York, a few decades subsequently the motility's prevalence in other fine art forms. White elements, cold lighting, large open spaces with minimal objects and furniture, and a simplified living space revealed the essential quality of buildings and attitudes toward life. While ornamentation is spare, it's not totally absent. Instead this manner maintains the idea that all parts, details, and joinery have been reduced such that nothing could be further removed to improve the design.

Minimalist pattern and compages accounts for light, course, material, infinite and location. In minimalist architecture, design elements convey the message of simplicity. The basic geometric forms, elements without decoration, uncomplicated materials and repetitions of structures stand for a sense of order and essential quality. The movement of natural light in buildings reveals unproblematic and clean spaces. In late 19^th century, as the arts and crafts movement became popularized in U.k., people valued the attitude of "truth to materials." Minimalist architects humbly listen to figure, seeking essence and simplicity by rediscovering the valuable qualities in simple common materials.

The thought of simplicity appears in many cultures, especially the Japanese traditional civilisation of Zen Philosophy. Zen concepts of simplicity transmit the ideas of freedom and essence of living. Simplicity is non simply an artful value, merely has a moral perception that considers the nature of truth and reveals the inner qualities of materials and objects for their essence. For example, the dry stone garden in Ryoan-ji temple demonstrates the concepts of simplicity from the considered setting of a few stones and a huge empty infinite. Ryoan-ji, attributed past some scholars to the famous landscape painter and monk Sōami, is believed to accept originally been designed with the concept of shakkei, in which background mural is incorporated into the composition of the garden.

Ryoan-Ji Temple: Ryoan-Ji Temple is a Zen temple that exemplifies the minimalism and simplicity that is typical in Japanese design.

Process Art

Procedure-based art focuses on the creative journey instead of the finish production.

Learning Objectives

Contrast the focus of process art with that of production-focused artists

Key Takeaways

Key Points

• The processes involved in creating fine art are any deportment used to brand a work of fine art.
• The procedure fine art move began in the U.S. and Europe in the mid-1960s. It has roots in performance art and Dadaism.
• In procedure art, the ephemeral nature and insubstantiality of materials are often showcased and highlighted.
• Process art and environmental art are straight related. Process artists engage the primacy of organic systems, using perishable, insubstantial, and transitory materials.

Key Terms

• ephemeral: Something which lasts for a curt period of time.

Background

Process fine art is an creative move and artistic sentiment in which end product is not the primary focus. The processes referred to are those of creating art: the gathering, sorting, collating, associating, patterning, and the initiation of actions that must be in place. Process art is concerned with actual creation and how deportment can be defined as art, seeing the expression of the artistic procedure as more pregnant than the product created by the process. Process art often focuses on motivation, intent, the rationale, with fine art viewed equally a creative journey that doesn't necessarily lead to a traditional fine fine art object destination.

Process Art Movement

The process art motility began in the U.S. and Europe in the mid-1960s. It has roots in performance fine art, the Dada movement and, more traditionally, the drip paintings of Jackson Pollock. Change, transience, and embracing serendipity are themes in this move. In 1968, the Guggenheim Museum hosted a groundbreaking exhibition and essay defining the motility by Robert Morris, noting: "Procedure artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced past actions such as cut, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition. "

Human Need/Want/Promise/Dream (Bruce Nauman, 1983): Like the live immediacy of performance art, process art is focused on the artistic journey instead of a traditional fine fine art destination.

In process art, the ephemeral nature and insubstantiality of materials are ofttimes showcased and highlighted. Procedure art and environmental fine art are directly related: process artists engage the primacy of organic systems, using perishable, insubstantial, and transitory materials such as dead rabbits, steam, fat, ice, cereal, sawdust, and grass. The materials are often left exposed to natural forces like gravity, time, weather condition, or temperature in order to gloat natural processes.

Procedure Fine art Precedents

Inspiring precedents for process art that are fundamentally related include indigenous rites, shamanic and religious rituals, and cultural forms such every bit sandpainting, sun dance, and tea ceremonies. For case, the structure process of a Vajrayana Buddhist sand mandala by monks from Namgyal Monastery in Ithaca, New York was recorded and exhibited online past the Ackland's Yager Gallery of Asian Art. The monks' creation of a Medicine Buddha mandala began February 26, 2001 and ended March 21, 2001, and the dissolution of the mandala was on June 8, 2001, demonstrating that the process of creating the art was more of import than preserving the finished product.

The Influence of Feminism

Feminist and intersectional sentiments in art have always existed in opposition to the white, patriarchal foundations and current realities of western art markets and fine art history.

Learning Objectives

Draw the origin, evolution, and influence of the feminist art movement during the late 20th century

Cardinal Takeaways

Central Points

• Feminism in fine art has always sought to modify the reception of contemporary art and bring visibility to women within fine art history and practice.
• In line with the evolution of western civilization, art in the westward has been built upon white, patriarchal, capitalist values, and while women artists have always existed they have largely been omitted from history.
• The women-in-arts movement corresponded with full general developments in feminism in the 1960s and 1970s.
• Ane of the first self-proclaimed feminist art classes in the United States was started in the autumn of 1970 at Fresno State University past visiting artist Judy Chicago. The students who formed the program included Susan Boud, Dori Atlantis, Gail Escola, Vanalyne Green, Suzanne Lacy, and Cay Lang.
• The forcefulness of the feminist motility allowed for the emergence and visibility of many new types of work by women.
• From 1980 onward, art historian Griselda Pollock challenged the ascendant museum models of art and history then excluding of women's artistic contributions. She helped articulate the circuitous relations between femininity, modernity, psychoanalysis, and representation.

Fundamental Terms

• feminism: A social theory or political movement supporting the equality of both sexes in all aspects of public and private life; specifically, a theory or movement that argues that legal and social restrictions on females must be removed in order to bring about such equality.

Origins

Feminism in art has ever sought to alter the reception of contemporary fine art and bring visibility to women within art history and practice. In line with the development of western civilization, art in the w has been built upon white, patriarchal, backer values,
and while women artists have ever existed they take largely been omitted from history. Feminism has always existed and generally prioritizes the cosmos of an opposition to this system. Corresponding with general developments within feminism, the and so-called "second moving ridge" of the movement gained some prominence in the 1960s and flourished throughout the 1970s.

The Feminist Art Program

One of the get-go self-proclaimed feminist art classes in the United States, the Feminist Art Program, was started in the fall of 1970 at Fresno State University by visiting artist Judy Chicago. Chicago (born 1939) is an American feminist artist and writer known for her big collaborative art installation pieces which examine the role of women in history and culture. Chicago's work incorporates artistic skills stereotypically placed upon women, such as needlework, contrasted with stereotypical male skills such as welding and pyrotechnics. Chicago's masterpiece work is a mixed-media piece known as The Dinner Party, which is in the collection of the Brooklyn Museum.

Judy Chicago's installation "The Dinner Party" at the Brooklyn Museum of Fine art: The Dinner Party is an installation artwork past feminist artist Judy Chicago depicting place settings for 39 mythical and historical famous women.

The students who formed the Feminist Art Program along with Judy Chicago included Susan Boud, Dori Atlantis, Gail Escola, Vanalyne Green, Suzanne Lacy, and Cay Lang. The grouping refurbished an off-campus studio infinite in downtown Fresno for artists to create and discuss their work "without male interference". Participants lived and worked in the studio, leading reading groups and collaborating on art. In 1971, the class became a total-fourth dimension program at the university.

The program was different than a standard art grade. Instead of the typical instruction of techniques and art history, students focused on raising their feminist consciousness. Students would share personal experiences about specific topics like coin and relationships. It was believed that by sharing these experiences, students were able to insert more than emotion into their artwork. Furthermore, instead of supporting the typical idea of artists being secluded and working every bit independent "geniuses," the form emphasized collaboration, a radical departure for the fourth dimension flow.

Feminist Art Movements: U.S and Europe

During the heyday of second wave feminism, women artists in New York began to come up together for meetings and exhibitions. Collective galleries like A.I.R. Gallery were formed to provide visibility for fine art by feminist artists. The strength of the feminist move allowed for emergence and visibility of many new types of work by women. Women Artists in Revolution (WAR) formed in 1969 to protestation the lack of exposure for women artists. The Ad Hoc Women Artists' Committee (AWC) formed in 1971 to address the Whitney Museum's exclusion of women artists.

There are thousands of examples of women associated with the feminist art motion. Artists and writers credited with making the movement visible in culture include:

• Judy Chicago, founder of the first known Feminist Art Program
• Miriam Schapiro, co-founder of the Feminist Art Programme at Cal Arts
• Sheila Levrant de Bretteville and Arlene Raven, co-founders of the Adult female's Building

Both Suzanne Lacy and Religion Wilding were participants in all the early arts' programs. Other important names include Martha Rosler, Mary Kelly, Kate Millett, Nancy Spero, Faith Ringgold, June Wayne, Lucy Lippard, Griselda Pollock, and fine art-world agitators The Guerrilla Girls.

The Women's Interart Center in New York, meanwhile, is even so in operation, while the Women's Video Festival was held in New York City for a number of years during the early 1970s. Many women artists continue to organize working groups, collectives, and nonprofit galleries in various locales around the world.

From 1980 onward, art historian Griselda Pollock challenged the ascendant museum models of art and history then excluding of women's artistic contributions. She helped articulate the complex relations between femininity, modernity, psychoanalysis, and representation.

Current Climate

Things are beginning to shift in terms of a more gender-balanced art earth as postmodern thought and gender politics become more than of import to the general public. Postmodern feminism is an approach to feminist theory that incorporates postmodern and postal service-structuralist theory, and thus sees itself as moving across the modernist polarities of liberal feminism and radical feminism towards a more intersectional concept of reality.

Site-Specific Art

Site-specific art refers to art that has been created for a specific surroundings or infinite.

Learning Objectives

Give examples of site-specific art

Key Takeaways

Key Points

• Site-specific fine art is artwork created to exist in a sure place. Typically, the artist takes the location into business relationship while planning and creating the artwork.
• The actual term was promoted and refined by Californian creative person Robert Irwin, but it was actually first used in the mid-1970s by immature sculptors such as Patricia Johanson, Dennis Oppenheim, and Athena Tacha.
• Outdoor site-specific artworks often include landscaping combined with permanently sculptural elements. Site-specific art tin can be linked with environmental art, Earth art, or land fine art.
• Robert Smithson and Christo and Jeanne Claude are land/Earth artists who created site-specific work.

Key Terms

• topographies: Detailed graphic representations of the surface features of a identify or object.

Site-specific art is artwork created to exist in a certain place. Typically, the creative person takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian creative person Robert Irwin, just it was actually offset used in the mid-1970s by young sculptors, such equally Patricia Johanson, Dennis Oppenheim, and Athena Tacha, who executed public commissions for large urban sites. Architectural critic Catherine Howett and art critic Lucy Lippard were among the first to describe site-specific environmental art as a movement.

Site-specific installation by Dan Flavin, 1996, Menil Drove.: This site-specific installation past Dan Flavin uses colored lights to illuminate this interior gallery space.

Background

Site-specific art emerged as a reaction to the proliferation of modernist art objects as transportable, nomadic, museum-oriented, objects of commodification, with the desire to draw attention to the site and the context of the art. Site-specific work can refer to any form of art as long as it has been created for a specific environment or space. Closely related to land fine art and ecology art movements, site-specific art is the broadest of the three every bit information technology is not medium -specific.

Land Art and Earth Art

Country fine art, digging (coined by Robert Smithson), or Earth art is an art move in which landscape and of art are inextricably linked, so in this fashion information technology is site-specific. It is as well an art form created in nature, using organic materials such equally soil, rock (bed stone, boulders, stones), organic media (logs, branches, leaves), and h2o with introduced materials such every bit physical, metal, cobblestone, or mineral pigments. Sculptures are not placed in the landscape; rather, the landscape is the means of their creation. World-moving equipment is often involved. The works oft exist in the open up, located well away from civilisation, left to change and erode under natural weather. Many of the starting time works of this kind, created in the deserts of Nevada, New Mexico, Utah or Arizona, were ephemeral in nature and now only exist as video recordings or photographic documents.

Robert Smithson (January ii, 1938 – July 20, 1973) was an American country artist. His most famous piece of work is Spiral Jetty (1970), a 1,500-foot long spiral-shaped jetty extending into the Great Salt Lake in Utah constructed from rocks, earth, and table salt. It was entirely submerged by rising lake waters for several years, but has since re-emerged.

Robert Smithson, Spiral Jetty: Spiral Jetty is a site specific slice of Country Art or Earth Art created by Robert Smithson in the Great Salt Lake, Utah. Using rocks and earth, Smithson congenital a spiral-shaped relief in the lake bed. Best viewed from above, the piece is altered by the shifting waters over time and in this mode is forever linked to the environment it was intended for.

Christo Vladimirov Javacheff and Jeanne-Claude, known equally Christo and Jeanne-Claude, are a married couple who created site-specific ecology works of art. Their works nearly ever entail wrapping a large expanse of space or piece of architecture in a material, and include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Debate in Sonoma and Marin counties in California, and The Gates in New York City's Central Park. The purpose of their art, they argue, is simply to create works of art for joy and beauty and to create new ways of seeing familiar landscapes.

Christo and Jeanne-Claude, Pont Neuf, 1985: The artists Christo and Jeanne-Claude are known for their site-specific works that make use of large-scale wrapping techniques. In this piece, they wrapped an entire stone bridge built over a river in Paris to mesmerizing upshot.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/dematerialization/

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