Art is a human creative ability, which is demonstrated via imaginative designs, sounds, or ideas. Conceptual artwork—its Western variant anyway—emerged in the Sixties as a response to Clement Greenberg’s militant dedication to formalism and artwork that involved itself with the flat floor of the image airplane, resembling Summary Expressionism Sol LeWitt laid out the phrases for conceptual artwork in his seminal Paragraphs on Conceptual Artwork,” published in the June 1967 subject of Artforum.
These acts sparked a resurgence of interest in his work, which not solely brought the emergence of Neo-Dada led by John Cage, Robert Rauschenberg, and Jasper Johns, but in addition rekindled a widespread interest in concept-based mostly art throughout the up to date art world.
It isn’t a movement, it’s not a style, it’s a set of strategies,” says Andrew Wilson, curator of the Tate ‘s upcoming exhibition Conceptual Art in Britain 1964-1979” One can see the rub instantly: A set of strategies” is a spot-on description, however hardly a simple one.
The American art historian Edward A. Shanken points to the instance of Roy Ascott who “powerfully demonstrates the significant intersections between conceptual art and artwork-and-know-how, exploding the traditional autonomy of these art-historical classes.” Ascott, the British artist most intently related to cybernetic art in England, was not included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and didn’t explicitly make the most of know-how.
Since conceptual art inherently rejects materialistic representation of artworks and it isn’t targeted on materiality, many have linked conceptual art with Minimalism (if you like minimalism, check out our listing of 10 minimalist artist ). Nevertheless, conceptual artists rejected minimalism’s embrace of the conventions of sculpture and painting as mainstays of artistic production.