MW: The connection between the text and performance for me was through the practice
of Conceptual art in the early 1970s.
A
pioneer of conceptual art practice, the artist's career spans five decades and embraces painting, photography, film, video, books, prints, objects and installation.
The show was well received, and was seen as a defining example
of the Conceptual Art movement, where the concept of the presentation is the most important aspect of the artwork.
A central
figure of Conceptual Art since the 1960s, he concluded that viewers could experience an artwork simply by reading a verbal description of it.
Unlike many of his peers, he has explored these issues through the medium of painting, challenging it to meet the demands posed by new
forms of conceptual art.
The 1960s and 1970s are recognized as the defining
era of the Conceptual Art movement, a period in which centuries - held assumptions about the nature of art itself were questioned and dissolved.
This tendency has been on the rise since the
advent of Conceptual Art, when artists became more aware and critical of the complex context — ethical, social, economic — surrounding art.
In the»70s and»80s, there was certainly painting; but there was also a
lot of conceptual art, sculpture, installation, and performance.
Such methods would enter the global art scene gradually only to become a reality a decade later within the
framework of conceptual art.
General Idea is widely recognized as a leading part of a
branch of a conceptual art movement that embraced the expression of ideas in multiple media.
The paintings have absorbed the
legacy of conceptual art and incorporated it into the work; they are not in opposition to it.
This final exhibition in the series illustrates the forgotten
history of Conceptual art in Britain, bringing to the forefront works by two undervalued and under - recognised artists, who irrevocably changed our concept of the traditions of modern art.
The largest of these, State of Mind: New California Art Circa 1970, is a group survey exploring the
emergence of Conceptual Art as it developed in California in the 1970s.
San Francisco artist, Tom Marioni, founder of the
Museum of Conceptual Art in 1970, contributed a replica of 50 cc of Paris Air (1919), completing a full sweep of the readymades displayed in Pasadena.
Contrasting Kosuth's brand
of Conceptual art with figurative painting by young artists, Kuspit observes: «With Kosuth, self - criticality, and its larger relationship to life, have become overintellectualized, overexposed; art here is no longer subversive, except perhaps to itself.
In the introduction to his catalogue for Information, often considered the first
exhibition of Conceptual Art at a major museum, curator Kynaston McShine places Reinhardt among those who marked the intellectual climate that produced Conceptualism, along with Marcel Duchamp, Buckminster Fuller, Marshall McLuhan, the I - Ching, the Beatles, Claude Levi - Strauss, John Cage, Yves Klein, Herbert Marcuse, Ludwig Wittgenstein, and others.
Ten years after the artist's death, the MBAL will celebrate this pioneer
of conceptual art by setting aside a space in his honour for eight months.
Many prominent artists associated with Southern California's Light and Space movement were involved with the school, as well as leaders
of the conceptual art world of the 1970s.
It was shown again in 1995 for «1965 - 1975: Reconsidering the Object of Art,» a
survey of Conceptual art at the Los Angeles museum.