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This text marks an original and authoritative re-examination of a major turining point in late 20th-century art. Since the mid 1960s conceptual art - an art that consists of ideas written down, enacted or simply carried in your head - has directly challenged the very notion that a work of art is by definition an object of visual pleasure. Conceptual art is first and foremost an art of questions. As this text demonstrates conceptual art continues today to raise fundamental questions not only about the definition of art itself but about politics, the media and society. This volume brings together all the most recent critical perspectives on conceptual art - such as the inclusion of work produced outside of Europe and the USA, in Japan, South America, China, Russia and Eastern Europe. It also offers a thematic overview of conceptual art which should prove valuable to anyone studying the movement, dividing it into six distinctive categories: six different ways in which artists contested traditional notions of art by highlighting the role of ideas in the production of art's meaning. Section one, "Pre-history, 1940-1960", presents the main precursors of conceptual art in the USA, Europe and Japan. Section two, "Instruction, Performance, Documentation", traces the emergence of the first "conceptual" artworks as the scores of experimental music developed into "scores" or instructions for events and actions. Section three, "Process, System, Series", looks at the kind of conceptual art, linked to minimalism, that explores ideal systems of logical, mathematical and spatial relationships. Section four, "Word and Sign", considers art centred on language in the form of painted, printed or written texts. Section five, "Appropriation, Intervention, Everyday", deals with art that intervenes in other cultural forms or activities in order to transform them - ranging from projects using advertising billboards to activities such as cleaning the streets. Section six, "Politics and Ideology", focuses on art that reflects on and conveys explicity political contents. Section seven, "Institutional Critique", is devoted to works that examine the power structures underlying the institutions of art. Section eight, "Afterwards, 1980-2000", samples key works of the "post-conceptual" installation art that dominates the international art world today. Conceptual art, since its high period from the 1966 to 1972, has not only influenced all subsequent art but has made a major contribution to the history of ideas. Conceptual art in turn drew much of its inspirations from the writings of thinkers ranging from the philosopher Ludwig Wittenstein to the playwright Samuel Beckett. This text presents excerpts from these key influential writings alongside major original texts by artists, critics, curators and art historians in the "Documents" section.
About the Author
Peter Osborne is Professor of Modern European Philosophy and Tutor on the Graduate Programme in Aesthetics and Art Theory at Middlesex University, London. He is the author of The Politics of Time: Modernity and the Avant-Garde (Verso, 1995) and Philosophy in Cultural Theory (Routledge, 2001). He was a contributor to Rewriting Conceptual Art (eds. Michael Newman; Jon Bird, Reaktion Books, 1999) and has edited and co-edited several critical anthologies including A Critical Sense: Interviews with Intellectuals (Routledge, 1997) and From an Aesthetic Point of View: Philosophy, Art and the Senses (Serpents Tail, 2001). Author's Residence: London
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Contemporary art is post-conceptual art,
This review is from: Conceptual Art (Themes & Movements) (Hardcover)
This book fills in the gap created by the lack of institutional recognition - the recognition of this art movement in art institutions - allowing the reader to understand the pre-history of what constitutes contemporary art today, as post-conceptual. Hence the book is not using meaningless theoretical terms, but on the contrary the precise theoretical terms with which to give precise meaning and significance to this movement in art which followed post-war abstract expressionism, the latter otherwise still tending to overshadow the former.Peter Grodbecki's review registers the revulsion of the popular understanding of art (as produced by the purely intuitive expression of the genius painter) against the very idea of conceptual art. This should have been corrected by an engagement with the text, which reveals how conceptual art is constituted via its negation of abstract expressionism; that is to say, against art as being an inherently visual phenomena. And once the work of art has been reduced to a concept, to an idea, the existing understanding of art according to medium(s), which now appear as forms of actualization of an idea, becomes ontologically destroyed (ontologically, because what art most fundamentally is has changed, so the change is at the level of ontology, of the ontology of art). So this book doesn't just represent one in a series of books on themes and movements, rather it is about the most significant art movement, in terms of its mediating role, between art that came before it (post-war abstract expressionism) and that which came after it (contemporary art today, as post-conceptual), since on the one hand conceptual art failed to reduce art to a concept or idea, and yet on the other successfully challenged the existing ideology of the aesthetic, or aestheticism, and as a result fundamentally changed the form of actualization of the work of art (video, installation, documentation, essay, etc..), allowing for an infinite multiplicity of forms of actualization...
3 of 19 people found the following review helpful:
1.0 out of 5 stars
Boring neo-hegelian theoreticism,
By peter grodbecki "peter" (London) - See all my reviews
This review is from: Conceptual Art (Themes & Movements) (Hardcover)
Why do so many academics think that theoria (an inability to stop using meaningless theoretical terms) is the same as thinking. If you cant sleep this will be a very helpful (if expansive) book.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
5.0 out of 5 stars (1 customer review)
5.0 out of 5 stars
far it goes,
By aggazzo - Published on Amazon.com
This review is from: Conceptual Art (Themes & Movements) (Paperback)
lots of content on the subject, far it goes on theory, and to me it is essencial when it comes to cenceptual art.. good set of photos and artists selected.
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