413-‐416. Range: c. 1965-‐Present Conceptual Art, Performance Art, Process Art, Earthworks/Land Art Terms/Concepts: dematerializa*on, Fluxus, Happening, pluralism, social sculpture, site-‐specific, entropy, commodifica*on, Key Monuments: Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965. Joseph Kosuth, One and Three Chairs, 1965. Jackie Winsor, Burnt Piece, 1977-‐1978. Robert Smithson, Spiral JeJy, 1970.
component. A component that is something other than its physical/visual form. We appreciate this “concept” ocen as much as we appreciate the physical form. Some works consist only/ primarily of conceptual components we call that “conceptual art.” Theodore Gericault, The Rac of the Medusa, 1818-‐1819.
with an awareness of and addresses the “rules” regarding art. 2. irony: a work uses its self-‐ awareness/reflec*veness as a tool to not only address the “rules” but make fun of them. 3. against medium: a work denies the use of “proper” art materials (paint, stone, etc.) in favor of materials that are indiscernible from the commonplace. 4. dematerializaOon of the artwork: a work is no longer “created” in the form of a material object but rather is exists and an intangible concept. 5. anO-‐aestheOc: a work does not seek a pleased reac*on based on its form. Clement Greenberg
term Marcel Duchamp used to describe works consis*ng of ligle more than household items. Because they required ligle or no ar*s*c manipula*on the were “readymade.”
Photographic enlargement of a dic*onary defini*on of chair, and a photographic copy of a chair. 1965. “[Conceptual art was] the inves*ga*on of the func*on, meaning and use [of art]”
else I inherited the idea of art as a set of formal problems. So when I began to re-‐think my ideas of art, I had to re-‐think that thinking process…[T]he radical shic was in changing the idea of art itself…It meant you could have an art work which was that idea of an art work, and its formal components weren’t important. I felt I had fund a way to make art without formal components being confused for an expressionist composi*on. The expression was in the idea, not the form—the forms were only a device in the service of the idea.”
assemblage of events performed or perceived in more than one *me and place. Its material environments may be constructed, taken over directly from what is available, or altered slightly: just as its ac*vi*es may be invented or commonplace. A Happening, unlike a stage play, may occur at a supermarket, driving along a highway under a pile of rags, and in a friend’s kitchen, either at once or sequen*ally, *me may extend to more than a year. The Happening is performed according to plan but without rehearsal, audience, or repe**on. It is art but seems closer to life.”
is why the nature of my sculpture is not fixed an finished. Processes con*nue in most of them: chemical reac*ons, fermenta*on, color changes, decay, drying up. Everything in a state of change.”
so that structurally the wood was the support system in the beginning but in such a way that once burned the cement could do that. It was designed sort of nega*ve-‐posi*ve so that the cement does exactly what the wood did…I wanted a piece about transforma*on—to change from and/or through one form of energy into another. To include destruc*on as a part of comple*on or being whole.”
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![Joseph Beuys, Felt Case Trapping Sound, 1966. “[They] covered](https://files.speakerdeck.com/presentations/5107ce309b160130f9b33e36452a8096/slide_20.jpg){kind=link}
![Jackie Winsor, Burnt Piece, 1977-‐1978. “[Burnt Piece] was planned](https://files.speakerdeck.com/presentations/5107ce309b160130f9b33e36452a8096/slide_31.jpg){kind=link}