ⓘ Conceptual art, also referred to as conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic, technica ..


ⓘ Conceptual art

Conceptual art, also referred to as conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic, technical, and material concerns. Some works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. This method was fundamental to American artist Sol LeWitts definition of conceptual art, one of the first to appear in print:

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.

Tony Godfrey, author of Conceptual Art & Ideas 1998, asserts that conceptual art questions the nature of art, 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 Greenbergs vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Art & Language, Joseph Kosuth who became the American editor of Art-Language, and Lawrence Weiner 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.

Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the United Kingdom, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture. 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 artists "intention".


1. 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 Duchamps 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 which rejected it. The artistic tradition does not see a commonplace object such as a urinal as art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamps 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 the founder of Lettrism, 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. This concept, also called Art esthaperiste or "infinite-aesthetics", derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could not actually exist except conceptually. The current incarnation As of 2013 of the Isouian movement, Excoordism, self-defines 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 proto-Fluxus publication An Anthology of Chance Operations. However, it assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Art-Language The Journal of conceptual art in 1969, into the artists social, philosophical, and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center.


2. The critique of formalism and of the commodification of art

Conceptual art emerged as a movement during the 1960s – in part as a reaction against formalism as 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 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.

Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break with Greenbergs 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 Greenbergs stipulations for art to continue within the confines of each medium and to exclude external subject matter no longer held traction. 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. Theres no way I can climb inside somebodys 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 reduced to a set of written instructions describing a work, but stopping short of actually making it - emphasising the idea as more important than the artifact. This reveals an explicit preference for the "art" side of the ostensible dichotomy between art and craft, where art, unlike craft, takes place within and engages historical discourse: for example, Onos "written instructions" make more sense alongside other conceptual art of the time.


3. Language and/as art

Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists Lawrence Weiner, Edward Ruscha, Joseph Kosuth, Robert Barry, and Art & Language begin to produce art by exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching composition e.g. Synthetic Cubism, the conceptual artists used language in place of brush and canvas, and allowed it to signify in its own right. Of Lawrence Weiners 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."

The British philosopher and theorist of conceptual art Peter Osborne suggests that among the many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from 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. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art. Osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. It is a claim made at the level of the ontology of the work of art rather than say at the descriptive level of style or movement.

The American art historian Edward A. Shanken points to the example of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" 1964, was quoted on the dedication page to Sol Lewitt of Lucy R. Lippards seminal Six Years: The Dematerialization of the Art Object from 1966 to 1972, Ascotts anticipation of and contribution to the formation of conceptual art in Britain has received scant recognition, perhaps and ironically because his work was too closely allied with art-and-technology. Another vital intersection was explored in Ascotts use of the thesaurus in 1963, which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept would be taken up in Joseph Kosuths Second Investigation, Proposition 1 1968 and Mel Ramsdens Elements of an Incomplete Map 1968.


4. 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.

An important difference between conceptual art and more "traditional" forms of art-making goes to the question of artistic skill. Although skill in the handling of traditional media often 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 of individual artistic expression.


5. Contemporary influence

Proto-conceptualism has roots in the rise of Modernism with, for example, Manet 1832–1883 and later Marcel Duchamp 1887–1968. The first wave of the "conceptual art" movement extended from approximately 1967 to 1978. Early "concept" artists like Henry Flynt 1940–, Robert Morris 1931–2018, and Ray Johnson 1927–1995 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 the prefix Post- in art can frequently be interpreted as "because of".

Contemporary artists have taken up 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 continue to be aspects of contemporary art, especially among artists working with installation art, performance art, net.art and electronic/digital art.


6. Notable examples

  • 1969: The first generation of New York alternative exhibition spaces are established, including Billy Apples APPLE, Robert Newmans Gain Ground, where Vito Acconci produced many important early works, and 112 Greene Street.
  • 1975-77 Orshi Drozdiks Individual Mythology performance, photography and offsetprint series and her theory of ImageBank in Budapest.
  • 1958: Wolf Vostell Das Theater ist auf der StraSe / The theater is on the street. The first Happening in Europe.
  • 1962: FLUXUS Internationale Festspiele Neuester Musik in Wiesbaden with, George Maciunas, Wolf Vostell, Nam June Paik and others.
  • 1986: Art & Language are nominated for the Turner Prize.
  • 1961: Piero Manzoni exhibited Artists 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 peoples bodies, thus declaring them to be living works of art either for all time for specified periods. This depended on how much they are prepared to pay. Marcel Broodthaers and Primo Levi are amongst the designated artworks.
  • 1967: Mel Ramsden first 100% Abstract Paintings. The painting shows a list of chemical components that constitute the substance of the painting.
  • 1968: Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell found Art & Language.
  • The English journal Studio International published Joseph Kosuth´s article "Art after Philosophy" in three parts October–December. It became the most discussed article on "Conceptual Art".
  • 1962: Alberto Greco began his Vivo Dito or Live Art series, which took place in Paris, Rome, Madrid, and Piedralaves. In each artwork, Greco called attention to the art in everyday life, thereby asserting that art was actually a process of looking and seeing.
  • 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".
  • 1965: A complex conceptual art piece by John Latham called Still and Chew. He invites art students to protest against the values of Clement Greenbergs Art and Culture, much praised and taught at Saint Martins School of Art in London, where Latham taught part-time. Pages of Greenbergs 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.
  • 1966: N.E. Thing Co. Ltd. Iain and Ingrid Baxter of Vancouver exhibited Bagged Place the contents of a four-room apartment wrapped in plastic bags. The same year they registered as a corporation and subsequently organized their practice along corporate models, one of the first international examples of the "aesthetic of administration".
  • 1991: Ronald Jones exhibits objects and text, art, history and science rooted in grim political reality at Metro Pictures Gallery.
  • 1968: Lawrence Weiner relinquishes the physical making of his work and formulates his "Declaration of Intent", one of the most important conceptual art statements following LeWitts "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: Vito Acconci creates Following Piece, in which he follows randomly selected members of the public until they disappear into a private space. The piece is presented as photographs.
  • 1955: Rhea Sue Sanders creates her first text pieces of the series pieces de complices, combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.
  • 1962: Christos 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.
  • 1969: The first issue of Art-Language The Journal of conceptual art 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. Art & Language are the editors of this first number, and by the second number and until 1972, Joseph Kosuth will join and become the American editor.
  • 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.
  • 1962: Artist Barrie Bates rebrands himself as Billy Apple, erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by third parties.
  • 1973: Jacek Tylicki lays out blank canvases or paper sheets in the natural environment for the nature to create art.
  • 1963: Henry Flynts article Concept Art is published in An Anthology of Chance Operations ; a collection of artworks and concepts by artists and musicians that was published by 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. Flynts "concept art" devolved from his idea of "cognitive nihilism" and from his insights about the vulnerabilities of logic and mathematics.
  • 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.
  • Friedrich Heubach launches the magazine Interfunktionen in Cologne, Germany, a publication that excelled in artists projects. It originally showed a Fluxus influence, but later moved toward Conceptual art.
  • 1977: Walter De Marias 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 viewers mind.
  • 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.
  • 1960: The artist Stanley Brouwn declares that all the shoe shops in Amsterdam constitute an exhibition of his work.
  • 1982: The opera Victorine by Art & Language was to be performed in the city of Kassel for documenta 7 and shown alongside Art & Language Studio at 3 Wesley Place Painted by Actors, but the performance was cancelled.
  • 1963: Festum Fluxorum Fluxus in Dusseldorf with George Maciunas, Wolf Vostell, Joseph Beuys, Dick Higgins, Nam June Paik, Ben Patterson, Emmett Williams and others.
  • 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.
  • 1953: Robert Rauschenberg creates 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 artists work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it.
  • 1960: Yves Kleins 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."
  • 1966: Conceived in 1966 The Air Conditioning Show of Art & Language is published as an article in 1967 in the November issue of Arts Magazine.
  • 1963: George Brechts collection of Event-Scores, Water Yam, is published as the first Fluxkit by George Maciunas.
  • 1976: facing internal problems, members of Art & Language separate. The destiny of the name Art & Language remaining in Michael Baldwin, Mel Ramsden and Charles Harrison hands.
  • 1972: Antonio Caro exhibits in the National Art Salon his work: Aquinocabeelarte Art does not fit here, where each of the letters is a separate poster, and under each letter is written the name of some victim of state repression.
  • 1965: Art & Language founder Michael Baldwin Mirror Piece. Instead of paintings, the work is showing a variable number of mirrors that challenge both the visitor and Clement Greenberg theory.
  • 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.
  • 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.
  • 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.
  • 1917: Fountain by Marcel Duchamp, described in an article in The Independent as the invention of conceptual art.
  • 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 Kleins 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.
  • 1975–76: Three issues of the journal The Fox were published by Art & Language in New York by. 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.
  • 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.
  • 1972: The Art & Language Institute exhibits Index 01 at the Documenta 5, an installation indexing text-works by Art & Language and text-works from Art-Language.
  • 1970: Douglas Huebler exhibits a series of photographs which were taken every two minutes whilst driving along a road for 24 minutes.
  • 1969: Robert Barrys Telepathic Piece at Simon Fraser University, Vancouver, 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.
  • 1962: Piero Manzoni created The Base of the World, thereby exhibiting the entire planet as his artwork.
  • 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.
  • 1961: Wolf Vostell Cityrama, in Cologne was the first Happening in Germany.
  • General Idea launch File magazine in Toronto. The magazine functioned as something of an extended, collaborative artwork.
  • 1965: with Show V, immaterial sculpture the Dutch artist Marinus Boezem introduced Conceptual Art in the Netherlands. In the show various air doors are placed where people can walk through them. People have the sensory experience of warmth, air. Three invisible air doors, which arise as currents of cold and warm are blown into the room, are indicated in the space with bundles of arrows and lines. The articulation of the space which arises is the result of invisible processes which influence the conduct of persons in that space, and who are included in the system as co-performers.
  • 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.
  • 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.
  • 1970: Ian Burn, Mel Ramsden and Charles Harrison join Art & Language.
  • 1956: Isidore Isou introduces the concept of infinitesimal art in Introduction à une esthetique imaginaire Introduction to Imaginary Aesthetics.
  • 1971: Hans Haackes 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.
  • 1974: Cadillac Ranch near Amarillo, Texas.
  • 1993: Matthieu Laurette established his artistic birth certificate by taking part in a French TV game called Tournez manege 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.
  • 2005: Maurizio Nannucci creates the large neon installation All Art Has Been Contemporary on the facade of Altes Museum in Berlin.
  • 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.
  • 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.
  • 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.
  • 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.
  • 2014: Olaf Nicolai creates the Memorial for the Victims of Nazi Military Justice on Viennas Ballhausplatz after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet Ian Hamilton Finlay 1924–2006 with just two words: all alone.
  • 2004: Andrea Frasers 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 Dont 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.

  • Post - conceptual postconceptual, post - conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary
  • NSCAD conceptual art refers to a period beginning in 1969 when Nova Scotia College of Art and Design NSCAD a post - secondary art school in Halifax, Nova
  • Art - Language: The Journal of Conceptual Art 1969 - 1985 was a magazine published by the conceptual artists of Art Language. Involving more than 20 artists
  • Neo - conceptual art describes art practices in the 1980s and particularly 1990s to date that derive from the conceptual art movement of the 1960s and 1970s
  • Portrait as a Drowned Man 1840 However, the term Conceptual Photography derives from Conceptual Art a movement of the late 1960s. Today the term is used
  • CIDOC Conceptual Reference Model Conceptual art Conceptual design Conceptual architecture Conceptual photography Post - conceptual Neo - conceptual art Progressive
  • closely related to conceptual art Although conceptual poetry may have freely circulated in relation to some text - based Conceptual art works during the
  • Philosophy and Conceptual Art is a 2007 book edited by Elisabeth Schellekens and Peter Goldie. The contributors deal with the philosophical questions raised
  • Art Language is a conceptual artists collaboration that has undergone many changes since it was created in the late 1960s. The group was founded by