What is Conceptual Art

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Conceptual Art

Conceptual Art

Education and Community Programmes,

Education and Community Programmes,

Irish Museum of Modern Art, IMMA

Image:

Image: Brian O’Doherty,Brian O’Doherty,

Drawing for Marcel Duchamp, 1967. Drawing for Marcel Duchamp, 1967.

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Conceptual

Thi erie repreet a repoe to a mber o chaege. Firty, the iheret probem ad cotradictio that arie whe attemptig to otie or mmarie the wide-ragig, cotaty chagig ad coteted phere o both art theory ad practice, ad ecody, the e o mmary term to decribe a rage o practice, may o which emerged i oppoitio to ch totaiig tedecie.

Takig thee chaege ito accot, thi tak erie oer a rage o perpective, drawig o expertie ad experiece rom ectrer, artit, crator ad critica writer ad i either deitive or exhative. The ite-tio i to provide backgrod ad cotexta iormaite-tio abot the art ad artit eatred i IMMA’ exhibitio ad coectio i particar, ad abot Cotemporary Art i geera, to promote iormatio harig, ad to ecorage critica thikig, debate ad dicio abot art ad artit. The tak erie addree apect o Moder ad Cotemporary Art paig the period rom the 1940 to the preet.

Each tak wi be pported by a iormatio eaet which icde a mmary, the preeter’ eay, a readig it, a goary o term ad a reorce it. Thi iormatio ca ao be od o IMMA’ webite aog with more detaied iormatio abot artwork ad artit eatred i IMMA’ Coectio at www.imma.ie.

There is a growing interest in Contemporary Art, yet the ideas and theo-retical frameworks which inform its practice can be complex and difcult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art.

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THE 

WHAT IS 

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IMMA Talks Series

The Irih Mem o Moder Art i the atioa ctra itittio or the co-ectio ad preetatio o Moder ad Cotemporary Art. IMMA exhibit ad coect Moder ad Cotemporary Art by etabihed ad emergig Irih ad iteratioa artit. The Temporary Exhibitio Programme eatre work by etabihed ad emergig artit, ad icde work ragig rom paitig, cptre, itaatio, photography, video ad perormace. IMMA origiate may o it exhibitio bt ao work coey with a etwork o iteratioa mem ad gaerie. IMMA’ Coectio icde artwork paig a rage o media ad gere, acqired throgh prchae, doatio, oa ad commi-io, may i aociatio with IMMA’ Temporary Exhibitio Programme ad, o occaio, IMMA’ Artit’ Reidecy Programme.

Thi itrodctory text provide a brie overview o Cocepta Art.

Aociated term are idicated i CAPITAls ad are eaborated o i a goary o page 21. We ivited Mick Wio, Dea o the Gradate schoo o Creative Art ad Media (GradCAM) to cotribte a eay etited What is Conceptual   Art?, which coider the reevace o Cocepta Art both a a ietia art

movemet drig a particar period o time bt ao, more broady, a a rame-work or creatig ad dertadig art which remai reevat to Cotempo-rary Art practice.

IMMA’ Coectio icde work by a mber o artit aociated with Cocepta Art, ch a Marce Dchamp, Joeph Koth, so leWitt, lawrece Weier, Dei Oppeheim, Art ad lagage, Matt Mica, Bria O’Doherty/ Patrick Iread, Michae Craig-Marti, Jame Coema ad Gibert ad George. The egacy o Cocepta Art i evidet i the work o a ew geeratio o artit whoe work i ao eatred i IMMA’ Coectio, icdig Damie Hirt, Marc Qi, Doga Gordo, Rebecca Hor, liam Giick, Phiippe Parreo ad Garret Phea. We hope to draw attetio to the potetia o IMMA’ exhibitio ad Coectio a reorce i the tdy ad coideratio o Cocepta Art, ad that thee text wi ecorage critica egagemet with the debate that cotie to iorm Cotemporary Art.

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Introduction

WHAT IS 

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Conceptual Art

COnCEPTuAl ART reer to a divere rage o art itic practice rom the ate 1960 to the eary 1970, where emphai wa paced o the cocept or idea rather tha the phyica art object. It ao reer more geeray to a rame-work or creatig ad dertadig COnTEMPORARY ART, which prioritie a coideratio o the idea or cocept, ad the itergratio o cotext whe ecoterig the work. The origi ad meaig o the term i dipted, a Co-cepta Art dee traditioa orm o deitio ad categoriatio, ad caot be idetied by a iorm tye or medim.

Cocepta Art emerged drig a period o ocia, poitica ad

ctra pheava i the 1960. It wa a reactio to the perceived cotrait o MODERnIsM ad the icreaig commodicatio o the art object. Artit oght the mea to thik beyod the medim-pecic apect o traditioa art orm, ch a origiaity, tye, expreio, crat, permaece, decoratio ad dipay, attribted to PAInTInG ad sCulPTuRE. They ed lAnGuAGE ad TEXT to directy diemiate idea, demytiy artitic prodctio ad egate viaity. Artwork took the orm o writte tatemet, decaratio, deitio ad ivitatio. A a coeqece, thi period ha bee decribed i term o the ‘demateriaiatio’ o the art object; a otio coteted by

ome artit who arge that a idea are accompaied by ome orm o artitic materia, whether it i a photograph, ketch, itrctio or map. Iteratioay, Cocepta Art i recogied or it e o both text ad ephemera or everyday materia, ch a FOunD OBJECTs, READYMADEs, PHOTOGRAPHY, VIDEO, PERFORMAnCE, DOCuMEnTATIOn ad FIlM.

Image: Lawrence Weiner,

(...) WATER & SAND + STICKS & STONES (...), 1991.

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_{What is}

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Image: Michael Craig-Martin,

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Hitoricay, Frech artit MARCEl DuCHAMP pioeered a cocepta approach to art with hi readymade, pre-emptig may qetio pred by Cocep-ta artit regardig what i art ad who determie it. CocepCocep-ta tedecie ca ao be od i the ‘ati-art getre’ o DADAIsM, COnsTRuCTIVIsM, POP ART, MInIMAlIsM ad FluXus. Bt it wa Cocepta artit who iterro-gated the ormative ctra tat ad perceptio o the via art object with mot rigor, beievig art cod act a a ctra itervetio, ad that it caot be coidered i ioatio rom it ocia, poitica ad ecoomic eviromet.

Thi ewy acqired cepticim qetioed traditioa orm o marketig the art object a a decorative, via COMMODITY, chaegig the owerhip, ditribtio ad athorhip o the art object. The hit i emphai rom art’ materia vae wa a deiberate attempt to bvert the atoomy ad power o the art market, ad the GAllERY or MusEuM a the ocatio, arbiter ad oe repreetative o art. Cetra to dirptig the covetioa ogic o art ytem wa the roe paced o the adiece, who were viewed a active participat i the diemiatio ad expaio o idea ad the democratiatio o art. Behodig the idea wa to behod the artwork; dermiig the private ower-hip o art a object ad the covetioa coditio o pectatorower-hip. Artit empoyed trategie rom the ma MEDIA, ch a magazie, biboard ad teeviio broadcat, to bypa the mem ad gaery ad to ditribte art withi the pbic domai. To expad o the critiqe o art, idea were orced rom phioophy, lInGuIsTICs, sEMIOTICs ad CRITICAl THEORY.

Cocepta Art i hgey ietia, coidered by ome to be the trig poit rom Moder to Cotemporary Art practice. It iece ca be ee i perormace art, lAnD ART, InsTAllATIOn ART, PARTICIPATORY ART, sITE sPECIFIC ART, nEW MEDIA ART, RElATIOnAl ART ad PuBlIC ART.

It repaced a object-baed practice with a reexive preoccpatio with the objecticatio o art. Artit took o the poitio o CRITIC ad CuRATOR, ad et ot the parameter o a debate that art practitioer cotie to addre. For ome, Cocepta Art i coidered a overy iteecta ad ati-aethetic art orm. Withi the dicore o InsTITuTIOnAl CRITIQuE, Cocepta Art i coidered a paradoxica exercie, i that the very itit-tio which were the oc o it critiqe have ow appropriated ad itr-metaied it trategie ad methodoogie, whit imtaeoy etraiig it broader ocia ad poitica impact. Cocepta Art cotie to iorm Cotemporary Art theory ad practice, ad ha cotribted to a revied der-tadig o art, radicaiig mode o preetig, exhibitig ad coectig art. sophie Byre, Aitat Crator

Tak ad lectre Programme lia Mora, Crator

Cocepta art i ot abot orm or materia, bt abot idea ad meaig. It caot be deed i term o ay medim or tye, bt rather by the way it qetio what art i. I particar, Cocepta art chaege the traditioa tat o the art object a iqe, coectabe ad/or aeabe. […] Thi art ca take a variety o orm: everyday object, photograph, map, video, chart ad epeciay agage ite. Ote there wi be a combiatio o ch orm. […] Cocepta art ha had a determiig eect o the thikig o mot artit.1

Toy Godrey, 1998 I wi reer to the kid o art which I am ivoved i a cocepta art. I cocep-ta art the idea or cocept i the mot importat apect o the work. […] The idea become a machie that make the art. […] Cocepta art i ot ecear-iy ogica. […] The idea eed ot be compex. Mot idea that are cce are dicroy impe.2

so leWitt, 1967 Cocepta art, or me, mea work i which the idea i paramot ad the materia orm i ecodary, ightweight, ephemera, cheap, pretetio ad/ or “demateriaized.” […] Thi ha ot kept commetator over the year rom caig virtay aythig i covetioa medim “Cocepta art.” […] There ha bee a ot o bickerig abot what Cocepta art i/wa; who bega it; who did what whe with it; what it goa, phioophy, ad poitic were ad might have bee. I wa there, bt I do’t trt my memory. I do’t trt ayoe ee’ either. Ad I trt eve e the athoritative overview by thoe who were ot there.3

lcy lippard, 1972 Cocept art i rt o a a art o which the materia i cocept, a the mate-ria o e.g. mic i od. sice cocept are coey bod p with agage, cocept art i a kid o art o which the materia i agage.4

Hery Fyt, 1961

08

Mick Wilson

What is

Conceptual Art?

09

Introduction

I choe to work with iert ga becae there wa ot the cotat preece o a ma object or device that prodced the art. Iert ga i a materia that i imperceivabe - it doe ot combie with ay other eemet […] That i what ga doe. Whe reeaed, it retr to the atmophere rom where it came. It cotie to expad orever i the atmophere, cotaty chagig ad it doe a o thi withot aybody beig abe to ee it.5

Robert Barry, 1969

The qotatio which begi thi eay etabih mot o the key theme i dicig cocepta art: the priority give to idea; the ambigo roe o acta object ad materia; the eed to rethik the mechaim o ‘dipay’ ad ditribtio o art; the icreaigy importat roe or agage; ad the tedecy to trobe core deitio both o ‘art’ i geera ad o ‘cocepta art’ ite i particar. Thi repeated pay with deitio – ‘What i the imit o what ca be icded der the headig “art”?’ ‘What i the mot redced ad cocie way i which a cocepta artwork ca be “give” or the adiece to “experiece”?’ – make awerig the qetio ‘What i cocepta art?’ a itte tricky, bt ao very worthwhie.

Perhap the eaiet way to itrodce cocepta art i to coider ome exampe o work typicay decribed a ‘cocepta’. Robert Racheberg ed a teegram to the Gaerie Iri Cert which ay: ‘Thi i a portrait o Iri Cert i I ay o’ a hi cotribtio to a exhibitio o portrait i the gaery, (1961).6 _{staey Brow ak paer-by i Amterdam to how him the way}

to a particar pot i the city ig pe ad paper, (This way Brouwn, 1961).7

Joh Badeari itrct a ig paiter to pait the oowig word o a cava: ‘stdy the compoitio o paitig. Ak yore qetio whe tadig i rot o a we-compoed pictre. What ormat i ed? What i the proportio o width to height?’, (Composing on a Canvas, 1966-8).8 _Cido

Meiree cree-prit bverive meage oto Coca-Coa ga botte ad re-circate thee o that they are re-ed or eig Coca-Coa (Ideological  Circuits: Coca-Cola Project , 1970).9 _{Joeph Koth exhibit a erie o}

back-ad-white phototat o dictioary deitio or word ch a ‘meaig’ ad ‘ivera’, ( Art as ideas as idea, 1966). Adria Piper exhibit a hort text ayig: ‘The work origiay iteded or thi pace ha bee withdraw. […] I bmit it abece a evidece o the iabiity o art expreio to have a meaig exitece der coditio other tha thoe o peace, eqaity, trth, trt ad reedom,’ (1970).10

Mot commetator idetiy the period rom 1966 to 1972 a the key phae o deveopmet: a period that cocde with the caoiatio o coceptaim i the cotroveria iteratioa rvey exhibitio Docmeta V i Germay orgaied by Harad szeema,11 _{ad the rt pbicatio o lcy lippard’ ote}

cited book that map cocepta art, Six Years: The Dematerialization o the Art  Object rom 1966 to 1972, i the us.12 _{However, thi eat packagig o ctra}

practice i ch cripy deimited movemet ad period, with cear begi-ig ad edig, i away, to a greater or eer degree, mieadig, athogh ch periodiatio are ometime e i mmariy itrodcig compex ctra hitorica materia.

The key probem preeted by mappig cocepta art i the degree to which it ha come to reoriet the etire ed o moder art, o that prodcig a accot o cocepta art ope p a whoe rage o reoved ie that cotie to vex participat i cotemporary art debate.

10

Thi term ‘cocepta art’ ha become the mot widey ed ame or work ch a thee, which orm a broad pectrm o experimeta artwork ad practice that deveoped rom the 1960 oward. Thee ew art practice o oger eceariy deped o the prodctio o dicrete oe-o phyica object; or eceariy e traditioa media ad techiqe ike pictre-makig with pait or modeig with cay or catig with broze or aembig with meta ad wood; or eve demotrate a pecicay prooced ‘via’ or ‘had made’ apect. Typicay, thogh ot withot importat exceptio, art makig prior to thi deveopmet had bee a matter o workig directy withi reativey amiiar art orm ad media – paitig, cptre, drawig, ad prit-makig – to prodce dicrete object. Cocepta art ca make e o thee orm o occaio, bt it o oger reqire thee orm i order to prodce omethig that caim a adiece’ attetio a a artwork – the emphai i geeray ot paced o a pecic materia arteact or o had-cratig or techica-makig procee a ch, or eve o the ‘expreive’ peroaity o the artit, bt rather o a rage o cocer that emphaie the roe o ‘idea’. However, ch geeraiatio are reay oy rogh approximatio – i may way the it o work provided above cod be ed a coter-exampe: or exampe, Robert Barry’ work with iert gae i cetray baed o a materia proce, the diio o the gae ito the atmophere; however, thi proce i ot avaiabe to perceptio i the a term o art viewig. Thi pay o betwee percept (what i give i the experiece) ad cocept (what i propoed a orgaiig the experiece meaigy) i a recrret eatre o mch cocepta art which make e o the ambigo iterpay o agage, percepta experiece ad the cocepta orgaiatio o experiece.

When was

Conceptual Art?

Less the medium,

more the message

11

A rough answer to

the question

so a a rt rogh attempt at a awer to the qetio ‘What i cocepta art?’, we cod propoe omethig ike: cocepta art, i the ame or a broad tedecy to hit the prioritie or makig, decribig, thikig abot, givig vae to, ad ditribtig work o art, toward qetio o idea rather tha techiqe. Thi i a tedecy that i trogy evidet ice the 1960. Thi i a hit rom qetio o crat proce, materia arteact, medim, traditio ad virtoity a primary, to qetio o itetio, meaig, idea ad iormatio a oremot i importace. Thi broad hit i emphai i evidet iteratio-ay i the work o artit rom may cotrie icdig Argetia, Atraia, Begim, Brazi, Caada, Itay, Japa, Ria, the netherad, new Zeaad, the uK, ad the uited state, rom the 1960 oward. Whie ome have idetied cocepta art primariy with new York ad north America, ad th with a Egih-peakig ctra cotext, other have worked hard to overcome thi bia by exporig the rich ad ctray divere exampe o coceptaim gobay.13

Bt oe o the probem with thi awer i that it eem to ioate cocepta art rom a broader et o deveopmet i pot Word-War II ctre, ch a pop art ad miimaim, a we a wider deveopmet i iteratre, poetry, theatre, perormace ad ma media. Part o the probem here i the way i which the academic dicipie o art hitory, epeciay i it poparied orm i goy pbicatio ad teeviio programme, ike to tak o ‘tye’ ad ‘movemet’ ad to achor thee otio by decribig the via appearace o, ad techiqe ed i prodcig arteact ch a paitig ad cptre. Ceary, whe artit begi to prioritie idea ad begi to e idea rom a wide rage o orce – ciece, phioophy, ocioogy, iterary theory, media ad commicatio tdie, cyberetic, ecoogica activim, ad coter ctra poitic or exampe – the od art hitorica covetio o ‘movemet’ ad ‘tye’ potetiay become obtace to etabihig a broad ad rich ee o a wide-ragig re-orietatio o the goba art ytem. (O core aother prob-em o academic art hitory ca ote be it preoccpatio with beig ‘correct’ ad exact i it e o term, which ca ead to a ot o hair-pittig ad age dacig o the head o pi, o et’ ot oe too mch eep over or rogh awer to the qetio ‘What i cocepta art?’)

Problems with

this answer

Oe importat dimeio o cocepta art (which it i difct to addre i a awer ike the oe give above), i it reatiohip with coter-ctra tedecie ad with vario orm o iteratioa ctra poitic ch a emiim, the ati-war movemet, ad vario orm o activim ad diet. A key work o the 1970 ad criticay importat or the deveopmet o emi-it ctra practice ad debate i Mary Key’ Post-Partum Document , which i i part a reworkig o cocepta art approache to the exhibitio a ‘ytem’ ad a e o the archive a a medim o dipay (preetig image, diagram, docmet, arteact i a ytematic maer).14 _{The exhibitio a}

‘ytem’, reer to the e o cyberetic ad ytem thikig i vario co-cepta art project ad i the rethikig o the ctio ad roe o exhibitio ad dipay.15 _{Thi i ot to ay that a cocepta art maieted a}

coter-ctra tedecy: thi wa ot the cae.16 _{Thi i to make a caim or the}

broad-eig eect o cocepta art i term o theme ad method i art makig which eabed (ot caed) the emergece o ew ctra practice ad debate which oregroded qetio o idetity, geder, ad ca.17

Image: Gilbert & George,

SMOKE RISING, 1989.

13

Aother dimeio o cocepta art, which i ot y addreed i thi dei-tio, i the ambigo ad compex reatiohip betwee cocepta art ad chage i the cotemporary art market. some commetator ike lippard emphaie cocepta art’ ‘demateriaiatio’ o the art object ad idetiy thi with attempt to reit the commercia ogic o the art market. Other com-metator oregrod the roe o cocepta art i rehapig the dyamic o the art market ad the atre o what ca eaiby be boght ad od. seth siegeab, a key new York gaerit ad crator ice the 1960, ha writte: ‘The ecoomic apect o cocepta art i perhap mot iteretig. From the momet whe owerhip o the work did ot give it ower the great adva-tage o cotro o the work acqired, thi art wa impicated i trig back o the qetio o the vae o it private appropriatio. How ca a coector poe a idea?’ 18_{O core thi tak o a ew ecoomy o idea ha a amiiar}

rig or cotemporary ear, ad ideed ome writer have idetied a coec-tio betwee ch 1960 radica art idea ad twety-rt-cetry ocoec-tio o ‘kowedge ecoomy’ ad ‘cogitive capitaim.’

I the 1990, Frech ocioogit arged that there i a reatiohip betwee the kid o creative ad imagiative idea-baed work procaimed by 1960 artit ad activit a progreive ad traormative or ociety, ad the kid o ‘exibe’ ‘creative’ ‘idea-geeratig’ ad ‘immateria abor’ procaimed by more recet champio o iormatio capitaim ad ‘exibiiatio’ a ecoomicay progreive ad traormative.19_{Thi i a very cotroveria}

matter, ggetig a it doe that i ome way work that oght to be ociay, poiticay ad ctray progreive i the 1960 ha become take-over a ecoomicay itrmeta thikig by a ew orm o capitaim that eek to expoit ever more totay or creative ad ocia bei g.20_{Other go right back}

to the 1960 ad idetiy a coectio betwee the ew art idea o cocep-taim ad the ew marketig ctre o corporatio. Aexader Aberro ha arged that: ‘The iio o corporate d wa a major eemet i the expa-io o the art market drig the mid-1960. […] May i corporate practice […] imagied ew, iovative art a a ymboic ay i the prit o etrepreer-hip.’21 _{Thi i jt oe way i which cocepta art cotie a a ive}

cotro-very or cotemporary art practice ad ctra debate.

Conceptual art

and the

knowledge economy

Conceptual art now

For ome commetator the rie o cocepta art ha bee othig e tha the betraya o the via art by overy iterary ad ati-via ctra practice.22_{For other commetator cocepta art ha geerated the bai}

o which crret practice proceed ad, or them, it ha etabihed the baic probem ad theme with which artit mt cotie to work. Argaby, cocepta art cotie to be the key backgrod or a mber o importat debate i cotemporary art: the roe o the crator; the ctio ad imit o art itittio (gaerie, mem, exhibitio); art a exempary ecoomy o the ‘demateriaied’; the meaig o ‘pbic’-e i art; the appropriate roe ad imit o mediatio, pbicity ad expicatio i cotemporary art; the icio ad excio that operate i the circit o goba ctre; ad the reatiohip betwee art practice ad kowedge.

I the mot impe ad everyday term cocepta art ha give rie to a ew criterio i jdgemet o art. Ecoterig a work o art, itead o the qetio ‘I it beati?’ or ‘I it movig?’ we ow d oreve more ote tha ot, rt akig oreve, ‘I it iteretig?’

15

Image: Liam Gillick,

Literally Based on H.Z., (detail), Kerlin Gallery, Dublin, 2006.

1 Toy Godrey,Conceptual Art , Phaido, 1998.

2 so leWitt, ‘Paragraph o Cocepta Art’, Artorum, Je 1967.

3 lcy lippard,Six Years: The Dematerialization o the Art Object rom 1966 to 1972, uiverity o Caioria Pre, 1997. [Orig. 1973].

4 Hery Fyt, ‘Eay: Cocept Art.’ i An Anthology o Chance Operations, la Mote Yog ad Mario Zazeea (ed.), 1963. see [http://www.b.com/hitorica/yog/ AAthoogyOChaceOperatio.pd].

5 Robert Barry i Meyer, ‘Coveratio with Robert Barry’, 12 October 1969. see [www. b.com/paper/barry_iterview.htm].

6 see Kritie stie ad Peter sez (ed.), Theories and Documents o Contemporary  Art: A Sourcebook o Artists’ Writings.uiverity o Caioria Pre, 1995, p. 804. 7 saa Hema, Jrrie Poot, ad Hripime Vier (ed.),Conceptual art in the

Netherlands and Belgium 1965-1975.Amterdam: nAi Pbiher/stedeijk Mem, 2002, p. 124.

8 see [http://www.acommo.org/a/ervet/detaiAMICO~1~1~98226~61526: Compoig-o-a-Cava].

9 see li Camitzer, Jae Farver, ad Rache Wei (ed.), Global Conceptualism: Points o Origin 1950s-1980s, Qee Mem o Art, new York, 1999, p. 59.

10 see lcy lippard.

11 From 1961 to 1969, Harad szeema wa Crator o the Kthae Ber, where i 1968 he amoy gave Chrito ad Jeae-Cade the opportity to wrap the etire mem bidig i a embematic work o t he period. szeema’ importat 1969 exhibitioWhen Attitudes Become Form, at the Kthae, itrodced Eropea adiece to artit ike Joeph Bey, Eva Hee, Richard serra ad lawrece Weier. It i ote cited a a key momet i the emergece o the moder gre o the

‘crator’ a ideed ha szeema’ practice i geera. see Ha-Joachim Mer, Harad szeema:The Exhibition Maker , Hatje Catz, 2006. Documenta V took pace i 1972 a the th i the erie o major rvey how o iteratioa art, which bega i 1955. Crated by szeema, it provided a broad repreetatio o Eropea ad north America cocepta art ad parked cotrovery becae o the trog athoria ipt o szeema ito the project. Documenta V ha become a key reerece i debate abot the atre o the crator’ ctio i cotemporary art. 12 lippard’ book prioritie new York ad emphaie the ‘demateriaiatio’ o the

artwork. Thi i a matter o  ome cotet ad debate. Jo Bird ad Michae newma have arged: ‘lippard’ term impie a ogic o btractio a the materiaity o the art object i ytematicay redced or redeed, ad the cocept ‘art’ ad the cotext icreaigy carry the brde o meaig. no ige term ca adeqatey decribe the vario orma ad theoretica ivetigatio pred by artit drig thi period.’ see their ‘Itrodctio’ i Rewriting Conceptual Art , Reaktio, 1999, p. 4. see ao Michae Corri’ ‘A Iviibe Coege i a Ago-America Word’, the itrodctio to hi edited athoogy o Conceptual Art: Theory, Myth, and Practice, Cambridge uiverity Pre, 2004. Corri cite Art & lagage’ diparagig perpective o thi poitio, whereby they aerted that ‘mot o the ‘demateriaiatio’ o the time were abrd reicatio o dicrivity, perecty ormed or co-optio’ (p. 1).

13 li Camitzer, Jae Farver, ad Rache Wei (ed.), Global Conceptualism: Points o Origin 1950s-1980s.Qee Mem o Art, new York, 1999. Bt thi ha by o mea become the domiat approach. There i a otabe preerece ti to prioritie

eat coat America artit ad their aociate rom Erope i accot o cocepta art.

14 see Mary Key,Post-Partum Document , uiverity o Caioria Pre, 1999. The work wa rt exhibited i 1976 at the Ititte o Cotemporary Art, lodo, where he howed three o the ix ‘Docmet’ rom thi exteded project. The book verio wa rt pbihed i lodo i 1983.

15 Michae Corri ote that: ‘The cocept o a ‘ytem’ which became part o the iga raca o the 1960, wa ot detied to remai the excive property o a techoogicay mided eite o egieer, cietit, ad mathematicia. I the had o iteecta, artit, ad poitica activit, it wod become a eetia ideoogica compet o the ‘ctra revotio’.Conceptual Art: Theory, Myth, and  Practice, Cambridge uiverity Pre, 2004, p. 189. For a oie verio ee [http:// www.metamte.org/e/sytem-upgrade-Cocepta-Art-ad-the-Recodig-o-Ior matio-Kowedge-ad-Techoogy].

16 Ideed, Gregory Battcock pecicay critiqed a importat new York how o co-cepta art, ‘Iormatio’ at the Mem o Moder Art i 1970, preciey becae it acked poitica vitaity. see Gregory Battcock , ‘Iormative Exhibitio at the Mem o Moder Art’, Arts Magazine, Vo. 44, no. 8, 1970, p. 27.

17 Adria Piper’ trajectory i iteretig i thi regard. see her Out o Order. Out o Sight. Vol. 1: Selected Writings in Meta-Art: 1968-1992, Cambridge, MA: The MIT Pre, 1996. 18 seth siegeab, i Michae Cara ad seth siegeab, “l’art cocepta,” Xxe iece,

41 (December 1973) reprited i Conceptual Art: A Critical Anthology, (ed.), Aexader Aberro ad Bake stimo (ed.), Cambridge, MA: The MIT Pre, 1999, p.289. (Cited ao i Aexader Aberro, Conceptual Art and the Politics o Publicity, Cambridge, MA: The MIT Pre, 2003, p. 1.)

19 see lc Botaki, Eve Chiapeo, ad Gregory Eiott, The New Spirit o Capitalism, Vero, 2006. [Orig. ] Whie Botaki et a., do ot  pecicay cite ‘cocepta art’, they reer to a broader ‘artitic critiqe’ which correate trogy with key theme i coceptaim ad with the ctra diet aociated with ‘1968’. They ak: ‘Mt we ot ak […] i the orm o capitaim which have deveoped over the at thirty year, whie icorporatig whoe ectio o the artitic critiqe ad bordiatig it to prot-makig, have ot emptied the demad or iberatio ad atheticity o what gave them btace…?’.

20 Victor Brgi’ proocemet rom 1988 i reveaig here: ‘The origia cocepta art i a aied avat-garde. Hitoria wi ot be rpried to d, amog the ri o it topia program, the deire to reit commodicatio ad aimiatio to a hitory o tye’. see Victor Brgi, ‘Ye Dierece Agai...’ i A. Aberro & B.stimo (ed.),Conceptual Art: A Critical Anthology,Cambridge, MA: The MIT Pre, 1999, p. 429. 21 Aexader Aberro,Conceptual Art and the Politics o Publicity, Cambridge, MA:

The MIT Pre, 2003, p. 13.

22 For a etertaiig read i thi vei ee Tom Woe, The Painted Word , Farrar, stra ad Girox, 1975.

17

Mick Wilson

Mick Wilson is an artist, writer and educator and a graduate of the National College of Art and Design (NCAD) and Trinity College Dublin. He is currently Dean of the Graduate School of Creative Arts and Media (GradCAM). He was previously Head of Fine Art at Dublin Institute of Technology and prior to that Head of Research at NCAD (2005-2007). Before this he was Director of MAVis and the BA visual arts practice programmes at IADT (1998-2004) and an associate lecturer at NCAD, CCAD, IADT and TCD (1991-1998). He has exhibited artwork in Ireland, Europe and the United States.

Image: Joseph Kosuth,

Conceptual Art:

Further Reading

20

Aexader Aberro,Conceptual Art and the Politics o Publicity, Cambridge, MA: The MIT Pre, 2003. Aexader Aberro ad Bake stimo (ed.),Conceptual Art: A Critical Anthology, Cambridge, MA: The MIT Pre, 1999.

Gregory Battcock (ed.), Idea Art: A Critical Anthology, new York: E. P. Dtto, 1973.

Michae Corri,Conceptual Art: Theory, Myth, and Practice, Cambridge uiverity Pre, 2004.

li Camitzer, Jae Farver, ad Rache Wei (ed.) , Global Conceptualism: Points o Origin 1950s-1980s, Qee Mem o Art, new York, 1999.

Frace Copitt, Knowledge: Aspects o Conceptual Art , seatte, WA: uiverity o Wahigto Pre, 1992. Toy Godrey, Conceptual Art , Phaido Pre, 1998.

Peter Godie ad Eiabeth scheeke (ed.),Philosophy and Conceptual Art , Caredo Pre Goterhire, 2007.

Ka Hoe,Concept Art , Cooge: Phaido, 1971.

liz Kotz,Words to be Looked At: Language in 1960 Art , Cambridge, MA: The MIT Pre, 2007. lcy lippard,Six Years: The Dematerialization o the Art Object rom 1966 to 1972, Berkeey: uiverity o Caioria Pre, 1997.

Daie Marzoa,Conceptual Art , Cooge: Tache, 2005. ura Meyer,Conceptual Art , new York: E.P. Dtto, 1972.

Robert C. Morga,Between Modernism and Conceptual Art: A Critical Response, Jeero, nC: McFarad & Co., 1997.

Catherie Moeey,Conception: Conceptual Documents 1968 to 1972, Birmigham: ARTice Pre, 2002. Michae newma ad Jo Bird (ed.), Rewriting Conceptual Art , lodo: Reaktio, 1999.

Peter Obore,Conceptual Art , Phaido Pre, 2002.

Ae Rorimer,New Art in the 60s and 70s: Redefning Reality,Thame & Hdo, 2004.

Pa Wood (ed.),Now they are. Texts o Paul Wood and Art & Language, Bre: Editio labor et Gaerie Iy Brachot, 1992.

21

Conceptual Art:

Glossary

ART MuseuM

A vee or the coectio, preervatio, tdy, iter-pretatio ad dipay o igicat ctra object ad artwork.

CoMModiTy

A prodct or artice o trade which i marketed or a commercia exchage o eqa vae, ad broady reer to arteact or object-baed art orm. ConCepTuAl ART Origiatig i the 1960, Cocepta Art phed art practice beyod the covetioa imit o the art object, pacig a emphai o the idea or cocept rather tha a ta-gibe art object. The idea ad methodoogie

o Cocepta Art iorm mch cotemporary art practice.

ConsTRuCTivisM

A abtract art movemet oded by Vadimir Tati ad Aexader Rodcheko i Ria arod 1915, which embraced deveopmet i moder techoogy ad idtriaiatio.

ConTeMpoRARy ART Reer to crret ad very recet art practice. Attrib-ted to the period rom the 1970 to the preet, it ao reer to work o art made by ivig artit. Cotemporary Art ca be drive by both theory ad idea, ad i ao charac-teried by a brrig o the ditictio betwee art ad other categorie o ctra experiece, ch a teevi-io, ciema, ma media, etertaimet ad digita techoogy.

CRiTiCAl TheoRy

A rage o theorie, draw maiy rom the ocia ciece ad hmaitie, ad aociated with the Frakrt schoo, which adopt a critica approach to dertadig ociety ad ctre.

CRiTiC

A pero who pae  jdgemet, appraia or

aayi o vario apect o the art.

CuRAToR

A pero who make deciio with regard to the eectio, acqiitio, dipay ad torage o artwork. A crator may be idepedet or ree-ace, or may be afiated to a mem or gaery. The crator o Cotem-porary Art i cocered with dipay, reearch ad preervatio bt i ao itereted i experimeta-tio ad iovaexperimeta-tio. dAdA

A ati-etabihmet ad ati-war art movemet oded i 1916 which ed abtractio, oee text ad abrd perormace to protet agait the ocia ad poitica coditio prevaiig i Erope drig Word War I. Aociated with the work o Trita Tzara, Ha Arp ad Marce Dchamp.

doCuMenTATion The proce o makig record with the e o photography, m, video, adio or text to idetiy or report acta detai.

duChAMp, MARCel (1887 - 1968)

Frech avat-garde artit aociated with Dada ad srreaim, whoe radica idea ad practice, mot otaby hi Readymade, have had a igicat i-ece o twetieth-cetry art ad Cocepta Art i particar.

FilM

The medim ed or the creatio o ti or movig image. The term i ao ed to decribe a motio pictre which i a eqece o image projected oto a cree, coectivey reerred to a ciema. I Cotempo-rary Art, m i reerred to a a art orm.

Fluxus

A iteratioa, avat-garde, art movemet i the 1960, which witeed art-it, writer, mmaker ad micia creatig experi-meta, mti-media work i m, video ad perormace iormed by ocia ad poitica activim. Found objeCTs The re-e o object, either maactred or occrrig i atre, which are ot deiged or artitic prpoe, ad are kept or their iheret qaitie. Ote exhibited i radom  jxtapoitio to create

ew meaig. GAlleRy

A itera pace or erie o pace dedicated to the exhibitio o artwork. insTAllATion

A art work made or a pecic ite or ocatio which egage with it cotext ad adiece.

22

the ideoogy ad dicore o Abtract Expreioim. ModeRn

Geeray reer to the pre-et or the cotemporary, it i aociated with the period o Moderim rom the ate ieteeth cetry to the mid-twetieth

cetry. Moder ca ao be ed to decribe the period ice the Eightmet i the eveteeth cetry or the Reaiace i the teeth cetry.

ModeRn ART

Reer to art theory ad practice rom the 1860 to the ate 1960 ad i deed i term o a iear progreio o tye, peri-od ad choo, ch a Impreioim, Cbim ad Abtract Expreioim. MediA

I geera age, media reer to orm o comm-icatio, ch a ewpa-per, magazie, teeviio, radio ad the Iteret. I the art, media, the pra o medim, reer to the materia, methodoogie, mechaim, techoogie or device by which a artwork i reaied. Tradi-tioa or od media icde paitig, cptre ad drawig ad the pecic materia ed, ch a pait, charcoa or marbe, ca ao be reerred to a media. I Cotemporary Art practice media artit e a wide rage o media, ch a techoogy, od materia, the body, od, etc.

new MediA

A rage o materia ad techoogie deveoped re-ativey recety ad tiied i the creatio, preetatio ad diemiatio o new Media Art.

new MediA ART

Artwork created ig ew media, ch a m, video, e-baed media, digita techoogy, hypertext, cyberpace, adio techo-ogy, CD-ROM, webcam, rveiace techoogy, wiree teephoe, GPs ytem, compter ad video game ad biotechoogy.

pAinTinG

The appicatio o a pig-met or coor to a race ch a cava, paper or pater. It wa the domiat artitic medim or pictora repreetatio ti the twetieth cetry. pARTiCipAToRy ART Pace the emphai o the ipt ad active recep-tio o the adiece or the phyica or cocepta reaiatio o the work. peRFoRMAnCe ART Ivove a artit dertak-ig a actio or actio where the artit’ body i the medim. Perormace art evoved i the ate 1950 ad i coey aociated with Video Art a thi wa the primary mea o recordig thi ephemera art orm.

insTiTuTionAl CRiTique A ytematic iterroga-tio o the workig o the art itittio, throgh art practice ad dicore, which expoe ad cha-ege amed ormaitie, ch a the atoomy ad etraity o the mem or gaery pace. Aociated with both Miimaim ad Cocepta Art, ad with artit ch a Ha Haacke, Adrea Fraer, Marce

Broodthaer ad Daie Bre.

lAnGuAGe

The e o verba ad writ-te text a a medim i Cocepta Art.

lAnd ART

A us art movemet rom the 1960 which emerged ot o evirometa ad ecoogica cocer, ad the perceived imitatio o the covetioa art object or cptre to repod to thee cocer. Artwork were created withi the adcape ote ig the materia o the adcape. linGuisTiCs

The cietic tdy o a-gage methodoogie, ch a grammatica trctre, perceptio, meaig, the actio ad od o peech, ad how thee method are acqired.

MiniMAlisM

A abtract art movemet deveoped i the us i the 1960 which emphaied the e o impe, geo-metric orm ad moder materia draw rom id-try. It wa a exteio o abtractio ocig o the propertie o the materia ed bt ao a rejectio o

23

phoToGRAphy

The proce o recordig a image, a photograph, o ight-eitive m or, i the cae o digita photography, via a digita eectroic or magetic memory. pop ART

A art movemet which deveoped i the uK ad us i the 1950 ad which drew o apect o popar ctre ad etertaimet a bject matter.

publiC ART

Artwork ocated otide the mem or gaery, ay ited i a pbic pace ad pported by pbic dig.

ReAdyMAde

Work o art made rom aembed maactred object that are paced i  jxtapoitio to create ew

meaig, appied by the artit’ iterpretatio, iga-tre ad tite. A term coied by Frech artit, Marce Dchamp who recogied that a object’ ctio cod be traormed ito a work o art by pacig it i a dieret cotext.

RelATionAl AesTheTiCs A term coied by the Frech crator nichoa Borriad i hi book o the ame ame pbihed i 1998. He decribe a et o art practice which pace a emphai o the ocia cotext i which the work i created ad/or preeted, ad o the roe o the artit a aciitator, where art i iormatio exchaged betwee the artit ad viewer. He ca exampe o thi practice Reatioa Art.

sCulpTuRe

A three-dimeioa art object which i either created or cotrcted by a artit. Icde

cotrctio, aembage, itaatio, od, ew media, etc.

seMioTiCs

The tdy o the reatio-hip betwee ig ad ymbo i via ad writ-te commicatio.

siTe speCiFiC

Artwork that i created with the itetio o beig ocated i a pecic ite or cotext, wherei remova rom that ite or cotext wod chage the meaig o the art work. Ote ao-ciated with Itaatio Art. TexT bAsed

Artwork created ig writte or prited word a the materia ad/or bject matter.

video ART

Artwork created ig a video recordig device. Video Art emerged a a art orm i the 1960 ad 1970 de to the deveop-met o ew techo-ogy, ad it i a prevaet medim i Cotemporary Art practice.

Conceptual Art:

General Resources

Southern Exposure, sa Fracico oex.org/abot.htm Studio Voltaire, lodo www.tdiovotaire.org Vitamin Creative Space, Beijig

www.vitamicreativepace. com

YYZ Artist Outlet, Toroto www.yyzartitotet.org Mm a Gar itrata Mm a Gar

Art Institute o Chicago www.artic.ed

Australian Centre or

Contemporary Art, Victoria www.accaoie.org.a Baltic Centre or Contem-porary Art, Gatehead www.baticmi.com Centres Georges Pompidou, Pari www.cac-gp.r Dia Art Foundation, new York

www.diacetre.org

Drawing Center, new York www.drawigcetre.org Gagosian Gallery, new York www.gaoia.com

Guggenheim Museum, Bibao

www.gggeheim-bibao.e Hayward Gallery,lodo www.haywardgaery.org.k

24

The oowig i a eect it o reorce. A more detaied it ca be od o IMMA’ webite

www.imma.ie

ifrmat wt Intute

Oie ervice providig iormatio abot web reorce or edcatio ad reearch.

www.itte.ac.k STOT

Patorm providig oie ik reatig to Cotempo-rary Art.

www.tot.org Artcyclopedia

Iteret ecycopedia o art ad artit.

www.artcycopedia.com The Artists

Databae o moder ad cotemporary artit. www.the-artit.org Ubu

A edcatioa reorce or Cocepta ad Perormace Art. www.b.com Artt l sac a itat

16 Beaver, new York www.16beavergrop.org Cubit, lodo

www.cbittartit.org Minus Space, new York www.mipace.com Sparwasser HQ, Beri www.parwaerhq.de

ICA

Ititte o Cotemporary Art, lodo

www.ica.org.k

Kunst-Werke Institute or Contemporary Art, Beri www.kw-beri.de

Maxxi, Rome

www.maxxi.parc.beic-trai.it/egih/meo.htm Metropolitan Museum o Art, new York www.metmem.org Moderna Museet, stockhom

www.moderameet.e MOMA

Mem o Moder Art, new York

www.moma.org

Mori Art Museum, Japa www.mori.art.mem/eg Museum o Contemporary Art, Chicago

www.mcachicago.org Museum o Contemporary Art Kiasma, Fiad

www.kiama.

Museum o Contemporary Art, lo Agee

www.moca.org Musee d’Orsay, Pari www.mee-oray.r Museum o Contemporary Art, sydey

www.mca.com.a

New Museum o Contempo-rary Art, new York

25

Palais de Tokyo, Pari www.paaidetokyo.com Paula Cooper Gallery, new York

www.paa.coopergaery. com

Reina Soa, Madrid www.meoreiaoa.e San Francisco Museum o Modern Art

www.moma.org

Saatchi Gallery, lodo www.aatchi-gaery.co.k Serpentine Gallery, lodo www.erpetiegaery.org Solomon R. Guggenheim Museum, new York www.gggeheim.org Stedelijk Museum, Amterdam

www.tedeijk. Tate Modern, lodo www.tate.org.k Whitechapel Gallery, lodo

www.whitechape.org White Cube, lodo www.whitecbe.com

Whitney Museum o Ameri-can Art, new York

www.whitey.org

Witte de With, Rotterdam www.wdw.

ir Mm a Gar

Butler Gallery, Kikey www.btergaery.com Catalyst Arts Gallery www.cataytart.org.k Context Gallery, Derry www.cotextgaery.co.k Craword Municipal Art Gallery, Cork

www.crawordartgaery. com

Cross Gallery, Dbi www.crogaery.ie Dock Arts Centre, Carrick o shao www.thedock.ie

Douglas Hyde Gallery, Dbi

www.dogahydegaery. com

Draiocht, Dbi www.draiocht.ie Dublin City Gallery, The Hugh Lane www.hghae.ie

Farmleigh Gallery, Dbi www.armeighgaery.ie Fenton Gallery, Cork www.artiread.et/y-tmp/door

Four,Dbi

www.ordbi.com Gallery o Photography, Dbi

www.gaeryophotogra-phy.ie

Galway Arts Centre www.gawayartcetre.ie

Green On Red Gallery, Dbi

www.greeoredgaery. com

Hallward Gallery, Dbi www.hawardgaery.com Highlanes Gallery,

Drogheda

www.highae.ie

Irish Museums Association www.irihmem.org IMMA

Irih Mem o Moder Art www.imma.ie

Kerlin Gallery,Dbi www.keri.ie

Kevin Kavanagh Gallery, Dbi

www.kevikavaaghga-ery.ie

Lewis Glucksman Gallery, Cork

www.gckma.org

Limerick City Gallery o Art www.imerickcitygaery.ie Model Arts and Niland Gallery, sigo www.modeart.ie Mother’s Tankstation, Dbi www.mothertaktatio. com Pallas Contemporary Projects, Dbi www.paaproject.org Project Arts Centre, Dbi www.projectartcetre.ie RHA

The Roya Hiberia Acad-emy, Dbi

www.royahiberiaacad-emy.com

Rubicon Gallery, Dbi www.rbicogaery.ie Temple Bar Gallery & Studios, Dbi

www.tempebargaery.com Taylor Galleries, Dbi www.tayorgaerie.ie ba a Art Far

Art Basel www.artbae.com Documenta, Kae www.docmeta.da ev+a, limerick www.eva.ie

Freize Art Fair, lodo www.reizeartair.com Istanbul Biennial www.ikv.org/biea11 Liverpool Biennial www.bieia.com/

Maniesta, Eropea Bie-ae o Cotemporary Art www.maieta.org

Moscow Biennale www.2d.mocowbie-ae.r

Bienal de São Paulo

www.bieaaopao.gobo. com

Shanghai Bienniale

www.haghaibieae.com Skulptur Projekte Münster www.kptr-projekte.de Venice Bienniale

www.abieae.org

jra a Magaz

Aterimage

Jora o Media Art ad Ctra Criticim

www.vw.org/aterimage Art Forum Magazine www.artorm.com Art and Research

www.artadreearch.org.k Art Monthly www.artmothy.co.k Art Newspaper www.theartewpaper.com Art Review www.artreview.com

Cabinet cultural magazine www.cabietmagazie.org Circa Art Magazine

www.recirca.com Contemporary www.cotemporary-maga-zie.com Critical Inquiry www.criticaiqiry.chi-cago.ed

Curator: The Museum www.atamirapre.com E-fux

www.e-x.com/jora Flash Art

www.ahartoie.com Frieze Art Journal www.rieze.com

The International Journal o Cultural Policy

www.tad.co.k/jora/ tite/10286632.ap

Irish Arts Review

www.irihartreview.com Journal o Visual Culture www.agepb.com/jora Modern Painters www.moderpaiter.co.k On-Curating www.o-cratig.org Printed Project www.viaartit.ie Third Text www.tad.co.k/jora/ tite/09528822.ap

The Visual Artists New Sheet www.viaartit.ie The Vacuum www.thevacm.org.k Variant www.variat.radomtate. org

26

Acknowledgements

Pbihed by the Irih Mem o Moder Art, Roya Hopita, Kimaiham Dbi 8, 2009. Te: + 353 1 612 9900 Fax: + 353 1 612 9999 Emai: i[email protected] isbn nmr IsBn: 978-1-907020-23-0 Tt:

What is Conceptual Art? Mick Wio

A other text writte ad edited by sophie Byre ad lia Mora

etr:

lia Mora, Crator:

Edcatio ad Commity Programme ad sophie Byre, Aitat Crator: Tak & lectre

C tr: sophie nei wat i __? Tam: lia Mora, Crator: Edcatio ad Commity Programme sophie Byre, Aitat Crator: Tak & lectre Mark Magire, Aitat Crator: Edcatio ad Commity Programme Rarc: Mariaa sabea Rebecca Devaey imag rcg: Margerite O’Mooy, Aitat Crator: Coectio. Crgt Carac: Joae Kiey: Admiitratio Aitat, Edcatio ad Commity Programme dg:

Red ad Grey Deig www.redadgreydeig.ie prt:

Prit library

www.prit-ibrary.com wt tak t: Margerite O’Mooy, Aitat Crator: Coectio; seam Mc-Cormack, Aitat Crator: Coectio; Joae Kiey, Admiitrator: Edcatio ad Commity; Moica Cia, Pbic Aair; Chritia Keedy, Head o Coectio; Rachae Thom-a, Head o Exhibitio; Hee O’Dooghe, Head o Edcatio ad Commity Programme ad Eriqe Jcoa, Director, IMMA. Text © Irih Mem o Moder Art ad Athor 2009

Image © Irih Mem o Moder Art ad Artit 2009

A right reerved. no part o thi pbicatio may be reprodced, tored i a retrieva ytem or tramit-ted i ay orm or by ay mea, eectroic, mechai-ca, photocopyig, record-ig or otherwie, withot the writte permiio o the Pbiher.

imag:

Every eort ha bee made to ackowedge correct copyright o image where appicabe. Ay error or omiio are itetioa ad hod be otied to the Irih Mem o Moder Art What I __? erie. lt f trat: Page 2

Bria O’Doherty, Drawig or Marce Dchamp, 1967, Peci o paper, 49 x 62 cm, Coectio Irih Mem o Moder Art, Doatio, Joeph Machek, 1991. Page 5

lawrece Weier, (...)

WATER & sAnD + sTICKs & sTOnEs (...), 1991,

lagage + the materia reerred to, Dimeio variabe, Coectio Irih Mem o Moder Art, Prchae, 1991.

Page 6

Michae Craig-Marti, O the Tabe, 1970, Wood, meta, water, rope 122 cm qare, Height vari-abe, Coectio Irih

Mem o Moder Art, Prchae, 2004.

Page 12

Gibert & George, sMOKE RIsInG, 1989, Mix media 338x 568 cm, Coectio Irih Mem o Moder Art, Prchae, 1993. © Cortey the artit

Page 14

liam Giick, literay Baed o H.Z., (detai) 2006, Te tabe it ad eve prototype/trctre to be arraged by the er i ay permtatio. A ee-met hod be dipayed together, Dimeio variabe, Itaatio view, Keri Gaery, Dbi, 2006. Coectio Irih Mem o Moder Art, Prchae, 2007.

Page 18 – 19

Joeph Koth, Three Tited Meaig (A.A.I.A.I), 1967, Photograph o text o pae, 120 x 120 cm (each), Coectio Irih Mem o Moder Art, Prchae, 1997. Joeph Koth © ARs, nY ad DACs, lodo 2009.

R   o   y  a   l  H  o   s   p   i   t   a   l   , M  i   l   i   t   a  r   y R   o   a   d   , K  i   l  m   a   i  n  h   a  m   , D  u  b   l   i  n   8   , I r   e   l   a  n   d  T  .  0   0   3   5  3  1  6  1 2   9   9   0   0  F   .  0   0   3   5  3  1  6  1 2   9   9   9   9   E   .  i  n  f   o   @   i  m  m   a   .  i   e   w  w  w  .  i  m  m   a   .  i   e 

What is Series 1 ?

In the most simple and everyday terms conceptual art has given rise to a new  criterion in judgements on art. Encountering a work of art, instead of the ques-tion ‘Is it beautiful?’ or ‘Is it moving?’ we now nd ourselves more often than not, rst asking ourselves, ‘Is it interesting?’ 

Mick Wilson

wat  Ccta Art? i the ecod i a erie o tak which aim to provide a geera itrodctio to key cocept ad theme i Cotemporary Art. What  is Conceptual Art provide a brie overview o Cocepta Art, both a a i-etia movemet, ad a a ramework or creatig ad dertadig art. Thi i accompaied by a eay by Mick Wilson, tited What is Conceptual Art?