Conceptual art

When one thinks of Art the most popular image is of great works, famous for their visually pleasing and intellectually rousing qualities. These works, aside from being visually and intellectually stimulating, have been used to challenge and encourage an audience to think about what it’s representing in flexible and open-minded ways, this is usually done by shocking the audience out of their “complacency” when viewing artworks. The great artists of the Conceptual Art movement especially emphasised

conceptualism whether contemporary or traditional, are two major groundings within the world of African art. Henceforth within this essay one will be contrasting and comparing one traditional African artwork; The Ngwana ‘ a ditlhaka (figure 1) by the Northern Sotho people and one contemporary African artwork; Bleeding tokarai (figure 2) by El Anutsui; in order to establish the works conceptual grounding in terms of materiality. At first this essay will be highlighting the historical and contextual

of readymade forms in the art world. Particularly, it focuses on two art movements that come to challenge the notion of art: found art and conceptual art. Both conceptual art and found art challenge the unity between form and content in art. Both seek the superiority of the one in opposition to the other, that is, form in found art and content in conceptual art. But could art survive merely as form or concept? According to Danto, the meaning of these works and their art identity does not depend on

This essay shall explore Joseph Kosuth’s argument that Conceptual Art requires art to shift from morphology to function; and therefore will investigate the meaning of this argument and how it has affected artistic practice. It will explain the importance of how this argument has changed the way the audience think about art. Subsequently it will outline several points of his argument and then expand and explore them in more depth. To define the artistic terminology used above, the term morphology

installation, performance, and conceptual art. Installation art is defined by the artist taking a whole space, room, or building like a museum and transforming it into their art exhibit. The patrons walk in to see an exhibit and are encompassed not only by the art, but the emotions that fill the room that is being portrayed by the artwork (DeWitte 240). Conceptual art is made when an artist comes up with an idea but the making and follow through is done secondary, and

(1) What do you see? - The artwork called In the Hood by David Hammons is brilliant conceptual art about racism, class and identity in America. His work contains a wearing dim hood, placed on the world. The hood seems to be worn by a person, however, there is no sign of human head in his art work. Or perhaps there is a person's head inside the hood, but the person in this art is somewhat invisible, faceless, and hidden under the black color. (2) What does the image make you think about? - As an

the prestige of art by the action of an artist’s choice and label. Marcel Duchamp was a French-American painter and sculptor. His work is linked with Dadaism and conceptual art, a movement that examined suppositions of what art must be, and in what way it should be arranged. Duchamp has had an enormous influence on twentieth-century and twenty first-century art, impelling the development of post–World War I Western art. Alongside Pablo Picasso and Henri Matisse,

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp

how fare we are willing to go to obtain material possessions. Moreover, we are asked to reevaluate if money truly can buy happiness. The exhibition I $hop Therefore I Am uses contemporary art from a wide range of artists to explore the theme of consumerism in modern society. This exhibition adopts a conceptual and narrative curatorial strategy to convey this all-encompassing theme. The groundbreaking nature of the exhibition is reflected in its title, I $hop Therefore I Am. The title itself

booth I purchased at an art street fair. Preparing for that show killed my interest in painting, although I still have a handful of them. (Three of my paintings hang in our Brooklyn house because my wife and kids and an art framer friend thought them worthy.) There was an earth sculpture wherein I moved a pile of dirt from one location to another, an installation in a field behind a friends farmhouse made from discarded plumbing fixtures and farm machinery, and a performance art piece in a gallery in