The artwork is a process rather than a material thing, and as such it is no longer something that can be grasped merely by seeing, hearing or touching the end product of that process.
More recently, James Young has defended a view whereby avant-garde art, like conceptual art, cannot yield any significant knowledge or understanding Young Most famously perhaps, expressivists such as Clive Bell and Roger Fry held that art should only seek to express and arouse emotions Bell ; Fry If one is impressed by these worries and cannot see any decisive philosophical reason to uphold the aesthetic view, there is little, if anything, to block a conception of art which is not necessarily aesthetic.
Vision and Design, London: For art that is as discourse-dependent as most conceptual art is, it is not always clear whether there is anything more to interpreting conceptual art than just being told what the idea in question is.
In the first instance, conceptual An analysis of conceptual art by richard long drives us to review the common assumption that appropriate appreciation and engagement with an artwork must involve a direct first-hand experience of that piece itself. Uncontroversial as this claim may seem, some philosophers have denied that art should either have or seek to have cognitive value.
Conceptual art, it seems, is something that we either love or hate. The first difficulty that a philosophical investigation of conceptual art encounters has to do with identifying the object of examination, or at least An analysis of conceptual art by richard long category of objects under scrutiny.
Nevertheless, in the midst of this deliberately produced uncertainty about the nature of conceptual art, a handful of characteristics and general aims do seem to recur, and although they should not be seen as criteria for conceptual art strictly speaking, they may be considered tenets fundamental to most conceptual art.
He has been doing essentially the same stuff since the s. Philosophizing about conceptual art is, then, not merely philosophizing about one specific artform. Whilst conceptual art does hold that any kind of object could be a work of art, it is not saying that every object is a work of art. Philosophy and Conceptual Art, Oxford: Art, early conceptual artists held, is redundant if it does not make us think.
There have been no shortages of attempts to define art in this manner. So, if the idea is the art, then how can my idiosyncratic interpretation of that idea be anywhere near valid? Clearly, conceptual art is not the first kind of art to raise ontological concerns of this kind.
If one wishes to define art in terms of aesthetic experience, the question finds a clear-cut answer, namely that conceptual art simply cannot be considered a kind of art. He has his place in the art history books, sure, right next to his student contemporaries Gilbert and George; but for the most part he has been cast as the worthy one in that comparison, just as he was the worthy one in the s, selling mud from the River Avon at an art fete in east London to baffled punters looking for the Gavin Turk stall.
Second, conceptual art poses philosophical problems from a wider perspective, in so far as one might expect philosophy to provide us with unitary accounts of the nature of art, the role of the artist, and artistic experience. Language and Aesthetics, Lawrence: Conceptual Art, New York: In fact, this capacity to evoke argument and debate lies at the very heart of what conceptual art sets out to do, namely to make us question our assumptions not only about what may properly qualify as art and what the function of the artist should be, but also about what our role as spectators should involve.
Central to the philosophy of conceptual art is thus the provocative spirit of the project under investigation — conceptual art throws down the gauntlet by challenging us to reconsider every aspect of artistic experience, and it may well be up to philosophy to pick it up and address some of the questions conceptual art makes its business to raise.
However, few artistic movements have pressed these questions about the division between aesthetic value on the one hand, and cognitive value on the other, as scrupulously and explicitly as conceptual art. Whereas the first consists of knowledge given to us in terms of propositions and can either be concerned with the artwork itself e.
But while this may be a viable position to hold in relation to the project of conceptual art in general, it cannot be used to attack conceptual art on its own grounds. First, the category of art is particularly heterogeneous. It seems, then that in order to be coherent, conceptual art must give up either the claim that the actual artwork is nothing other than the idea, or the claim that the interpretative onus lies on the viewer.
For if there is to be one rule for conceptual art and another for all other kinds of art, are there still good grounds for thinking of conceptual art as a kind of art?
Temple University Press, pp.
Depending on the ontological status of the particular piece if it is, say, a ready-made or a performancethese elements can be combined in different ways to explain our interpretative habits and practices.
In many important respects, conceptual art sits very uncomfortably with other, often more traditional artforms and artworks, and this tension highlights a pressing issue for anyone interested in the possibility of a universal theory of art. The Truth About Relativism, Oxford: A good philosophical explanation needs to be given as to how the material thing that is regularly presented to the audience is, in fact, relevant to the artwork itself.
As we have seen, though, we are often encouraged by conceptual artists to take the interpretative exercise into our own hands, so to speak, and not be shy to use features about ourselves and our own lives as interpretive tools.
Weitz32 The act of proposing a definition of art thus becomes a less stringent exercise of conceptual analysis. Reprinted in Osborne, It may be, then, that the most enduring lesson to be learnt from conceptual art with regards to the definition of art is not so much that a conceptual analysis of art is completely unattainable, as that we simply have been looking in the wrong place.
An illustrated study of a work that marks the transition from minimalism to a new mode of practice encompassing conceptual art, land art, and performance art. InRichard Long, then twenty-two years old and a student at Saint Martin's School of Art in London, walked back and forth along a straight line in the grass in the English countryside, leaving a track that he then photographed in.
Richard Long has been in the vanguard of conceptual art in Britain since he created A Line Made by Walking over half a century ago inwhile still a student.
This photograph of the path left by his feet in the grass, a fixed line of movement, established a precedent that art could be a journey. Richard Long’s latest exhibition, “Time and Space,” which opens today at the Arnolfini, could be considered a homecoming of sorts for the Bristol artist, if it wasn’t for the fact that he.
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Using his walks as art, Richard Long's excursions into nature and his minimally invasive marks on the landscape have broadened the definitions of sculpture to include performance and conceptual art. While the work is often theoretical and hermetic, he contextualizes his actions in more universal and historical terms, however explaining, "if you Place Of Birth: Bristol, England.Download