Conceptual Art

With its roots tied to minimalism, Conceptual Art was conceived out of a desire to shift traditional methods and materials toward less concrete forms and objects. It is described as being the movement that "dematerialized" art - meaning art that is not committed to long-lasting materials and forms. Until the 1960's, we saw art in terms of accepted and familiar themes. With Conceptual Art, in contrast, there is a struggle to find its own definition. What it is is less important than what it is made of or the way recognizable materials are "reassigned" to become art materials. The artist takes art from a function of intuition to one more involved with analysis and philosophy.

In strict definition conceptual refers to concept or conception. In art it relates to images that are less perceptual (traditional subjects) and more mentally formulated. As an example, the rigidly formal art of ancient Egypt may be viewed as conceptual, where stark realism is perceptual (an artist's vision of the subject).

Conceptual Art is created to convey an idea or a concept to the viewer without the limitations of traditional guidelines. It is created without regard to the value of the materials or the subject, be it in a painting, drawing or sculpture.

Conceptual Art, more than any other, is created to stimulate comment and discussion among critics and patrons. Without such interaction, the movement really would have never existed. During the 1960's, artists were striving to create something new and exciting, based on their concepts. Without drawing from other movements for past styles, Conceptual Art results from the artists' interpretations and their desire that their work serve to share knowledge and not be an art object that is an end in itself.

Examples of Conceptual Art include those works created for the moment, never intended to last. Sol LeWitt drew with graphite and painted a grid of 16 squares on a wall. By painting on a surface that was neither canvas nor paper (thereby not salable) LeWitt removed the emphasis and materiality of the objects painted, giving priority to his idea instead. "In conceptual art the idea or concept is the most important aspect of the work...all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art." (Sol LeWitt, 1967)

Mel Bochner drew through soap film rubbed onto window glass. The result was not only temporary, but also again not created with prospects of longevity or sales. It could be recreated elsewhere, inexpensively and always temporary.

Reaction was immediate and intense. Considered by many to be a revolt against modernism, open hostility erupted between the art community and critics. Little reference to Conceptual Art in accepted art history makes one think its impact was impotent. But, conceptualism was deliberately an art that was virtually impossible to be explained, let alone be appreciated. It was an attempt to break from the formality of art history and criticism. Attention was turned toward "making" and the materials used therein. The process was everything, with the result secondary (and often temporary).

Much of the performance art of today and unusual works of visual art such as Earth Art fall squarely into conceptuality. Conceptual Art is created with the expressed purpose of being difficult to categorize. Artists create works that are deliberately impossible to classify according to the old system and that could not be placed in a museum or gallery.

One American, Douglas Huebler (1924-1997) set himself a bit apart from other Conceptual artists by including photographs, self-portraits and documents, plus sculpture and installations about personal activities and family members in his work. This playful aspect of his work was less extreme and allowed more viewers to relate to his style. He also set out games and activities for the viewer. He wanted to involve people in his works rather than make a personal statement understood by him only. Through these experiences, he became a mentor to future conceptualists.

Though often linked to Process Art, in which the act of making an object is more important than the eventual product, Conceptual Art carries this one step further. Claiming that the artistic concept, the creative thought, is more important than either the process or the product, the Conceptual Art movement strives to present a different premise.

What is vital to Conceptual Art is an audience. Without interaction between these creations and viewers, the purpose of concept (perhaps even creative thought) is lost. Feedback is the reward to the Conceptual Artist, since many of these works are fugitive.

Look around you for examples of Conceptual Art. Whenever creative thinkers use materials in unusual ways and by doing so redefine the purpose of that material, you see Conceptual Art. Earth Art, mentioned earlier, is an example of conceptuality that lives for long periods of time. It may be the supreme example of Conceptual Art because long after the artist's hand is finished, after his vision is created, earth formations continue to be altered by nature.

Copyright ARTtalk Vol. 13 No. 11 -- September 2003