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Showing 2 results for Conceptual Art
Nayyer Tahoori,
Volume 2, Issue 5 (2-2013)
Abstract
Victor Burgin is a famous British artist, renowned for his photographs and theories on art. Introducing his prominent theory through collected essays in a book titled The End of Art Theory he was nominated for the Turner Prize in 1986, in addition to exhibiting his works in Institute of Contemporary Arts and Kettle's Yard Gallery in Cambridge (1984). In this book, he exposes "the end of art theory" contrary to other theories with similar subject the most renowned one belongs to Arthur Danto. Influenced by such thinkers as Karl Marx, Sigmund Freud, Jacques Derrida, Michel Foucault, Roland Barthes, and Jacques Lacan, Burgin’s writings mainly cover the fields of conceptual art, criticism, and art theory. His recent book, Parallel Texts is a collection of his essays, interviews and theoretical writings.
According to Burgin, “art theory”, understood as those interdependent forms of art history, aesthetics and criticism which began during the Enlightenment and culminated in the recent period of “high modernism” is now at the end. Nonetheless, since every theoretical argument about art may be considered essentially a kind of theory, it seems paradoxical that Burgin as an artist simultaneously is theorizing about art and critic. No need to say that applying a kind of theory in deliberating about an artwork is inevitable.
This article discusses the Burgin’s idea on conceptual art which is predicated upon Freudian psychology and is mostly focused on artist’s character as the fruit of natural structure of human psyche through a social process. He not only expresses the art theory in a continuum of art history, criticism and aesthetics but also defines it in the cycle of economy and politics. From his point of view, artwork is nothing but the product of this interwoven system. For him, a conceptual artwork is theoretically expressive. In other words, nowadays the art has transferred into theory and criticism it follows that art theory has reached to an end and now it is declared through artworks. To conclude, the author would argue that in the world of art today, there is no need to separate professions as artists, critics and theorists anymore since all of them are compacted in one: an artist own self!
Narges Farhangmehr, Farideh Afarin,
Volume 8, Issue 30 (5-2019)
Abstract
This article tries to elucidate Kosuth’s intention in the presentation on conceptual art. It focuses on an explanation about his opposition on aesthetics and formalism with regard to the Wittgensteinian origin of his measurements. For evaluation of what this artist said and what he performed in his artistic works, we concentrate on the artist’s article entitled “art after philosophy”. We also study and analyze one of his works from series called “one and a few things”. This study shows that Kosuth with relying on “family resemblance” avoids presenting a decisive definition for the concept of art. His research in the conceptual condition of art production leads to the formation of an open concept for Art. So Kosuth hasn’t provided the necessary and sufficient condition for the definition of art. He has created assemblage like “one and three chairs” which is comprised of three parts. One belongs to the definition of a dictionary. The second is a real object in the world. The third is a representational photograph. This whole assemblage is designed equivalent to the proposition “one and three chairs”. So the artist avoids expressing himself, his sentiment, feeling & senses. We conclude that the artist tries to make ready a kind of “state of affairs” for an analytical proposition. This type of proposition doesn’t say anything about the world. It is repetitive. Kosuth shows an advanced and conceptual form of art presentation. He avoids presentation of perceptual, ornamental and optical forms. These kinds of new forms entangled in the enclosed circle of discourse and picture of thought. At last, they aren’t able to go beyond the circle of representation. They neglect to take into account unpredictable effects.
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