Conceptual artwork, art movement that started in the Nineteen Sixties and stresses the artist’s idea fairly than the artwork object itself. Obviously, this position seems troublesome to defend in the case of conceptual artwork: when we are dealing with items reminiscent of Warhol’s Brillo Boxes, the place the inner evidence is clearly inadequate to discern that it is an paintings in the first place, plainly we have to know that Warhol meant the containers to be considered qua artwork, at the very least.
In the case of conceptual art, a satisfactory answer to (i) will likely appeal to components such because the narrative aids supplied by artists or curators (e.g. catalogues, titles, exhibited explanations, labels, etc.); the appropriate mode of perception (i.e. wanting or listening); and what we know concerning the artwork’s and artist’s social, historical, political or inventive context.
Since conceptual artwork inherently rejects materialistic illustration of artworks and it isn’t focused on materiality, many have connected conceptual artwork with Minimalism (for those who like minimalism, try our list of 10 minimalist artist ). However, conceptual artists rejected minimalism’s embrace of the conventions of sculpture and painting as mainstays of creative manufacturing.
Central to the philosophy of conceptual art is thus the provocative spirit of the undertaking beneath investigation – conceptual artwork throws down the gauntlet by difficult us to reconsider each side of artistic experience, and it might be up to philosophy to pick it up and deal with a few of the questions conceptual art makes its business to lift.
Whether one comes out of that investigation embracing a broader – albeit maybe vaguer – set of ideas and instruments than one began off with, or whether or not one considers oneself forced to desert any hope of anything however very particular theories of artwork, artist, and creative experience, conceptual artwork obliges us to consider where we stand on these issues.