"Conceptual Art" treads the thin line between what we generally think as "artistic" and what as "non-artistic.
" While most of us do associate the skills of the artist as the primary requisite for a great art, a thought process gives the concept much more weight.
"Conceptual Art" is the baby of the latter.
While the genre itself was given a name by the reputed artist, Henry Flynt, it had cramping birth pangs when it grew out of the existing "formalism" that existed in the art circles of America in the 60s.
Marcel Duchamp, considered the father of the "Conceptual Art Movement," began with the concept of "Ready-mades.
" He was the first artist to start metamorphosing ordinary, mundane, daily articles into artworks.
The importance was not so much on displaying the dexterity of color or texture, as much it was on conveying a greater thought.
The Society of Independent Artists rejected his exhibits, and refused to recognize them as art.
1960s was the flourishing period for new thoughts and soon this idea of "Conceptual Art" was taken to new mediums and subjects.
"Installation Art" took on an independent stature and soon people were questioning the fundamentals of art.
The doubting artists, themselves came up with answers through their art forms that surprised them as much as they did the audience.
Sometimes the art pieces consisted of the arrangements of normal objects in a space, architectural curves, or raw shapes, and sometimes they outdid themselves by exhibiting nothing, calling them "Invisible Paintings" (Yves Klein did just that in his exhibit, "The Void," 1958).
The initial 60s and 70s led to an explosion of conceptual artists, such as Henry Flynt, Robert Morris, Adrian Piper, and Ray Johnson, who abhorred the idea of big galleries and what they called the commercialization of art.
Artists like Dan Graham and the Young British Artists then took the torch of "Conceptual Art.
" These people made the "concept" drive an art movement, often involving themselves not only in Fine Arts, but also in music and theatre.
Through these, they aimed to find a wholesome execution to display the "concept" without caring much for the longevity of their works.
What exists of these art works is only documentary evidence.
"Conceptual Art" floors the claims of it being an alternative to the formal art school techniques that sometimes themselves border on the bizarre.
In 1965, for example, John Latham made an exhibit called "Still and Chew," which consisted of students sitting and chewing pages of book and dissolving them in acid.
For all its sensationalism and shock value, "Conceptual Art" has grown from just a genre to a movement.
It has given the modern day art, its most beautiful moments, and also the most worthless ones.
In the bargain, "Conceptual Art" has been a door opening exercise, where the society questioned art and that itself is a big step in the history of art.
" While most of us do associate the skills of the artist as the primary requisite for a great art, a thought process gives the concept much more weight.
"Conceptual Art" is the baby of the latter.
While the genre itself was given a name by the reputed artist, Henry Flynt, it had cramping birth pangs when it grew out of the existing "formalism" that existed in the art circles of America in the 60s.
Marcel Duchamp, considered the father of the "Conceptual Art Movement," began with the concept of "Ready-mades.
" He was the first artist to start metamorphosing ordinary, mundane, daily articles into artworks.
The importance was not so much on displaying the dexterity of color or texture, as much it was on conveying a greater thought.
The Society of Independent Artists rejected his exhibits, and refused to recognize them as art.
1960s was the flourishing period for new thoughts and soon this idea of "Conceptual Art" was taken to new mediums and subjects.
"Installation Art" took on an independent stature and soon people were questioning the fundamentals of art.
The doubting artists, themselves came up with answers through their art forms that surprised them as much as they did the audience.
Sometimes the art pieces consisted of the arrangements of normal objects in a space, architectural curves, or raw shapes, and sometimes they outdid themselves by exhibiting nothing, calling them "Invisible Paintings" (Yves Klein did just that in his exhibit, "The Void," 1958).
The initial 60s and 70s led to an explosion of conceptual artists, such as Henry Flynt, Robert Morris, Adrian Piper, and Ray Johnson, who abhorred the idea of big galleries and what they called the commercialization of art.
Artists like Dan Graham and the Young British Artists then took the torch of "Conceptual Art.
" These people made the "concept" drive an art movement, often involving themselves not only in Fine Arts, but also in music and theatre.
Through these, they aimed to find a wholesome execution to display the "concept" without caring much for the longevity of their works.
What exists of these art works is only documentary evidence.
"Conceptual Art" floors the claims of it being an alternative to the formal art school techniques that sometimes themselves border on the bizarre.
In 1965, for example, John Latham made an exhibit called "Still and Chew," which consisted of students sitting and chewing pages of book and dissolving them in acid.
For all its sensationalism and shock value, "Conceptual Art" has grown from just a genre to a movement.
It has given the modern day art, its most beautiful moments, and also the most worthless ones.
In the bargain, "Conceptual Art" has been a door opening exercise, where the society questioned art and that itself is a big step in the history of art.