Goldberg, RoseLee. The Art of Ideas and the Media Generation
2001, in: Performance Art: From Futurism to the Present. New York: Thames & Hudson. 152-155.
Added by: Rossen VentzislavovSummary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.
Comment: This text offers a historical note on the relationship between conceptual art and performance art, and could be used in aesthetics classes focusing on either of those artsExport citation in BibTeX formatExport text citationView this text on PhilPapersExport citation in Reference Manager formatExport citation in EndNote formatExport citation in Zotero format
Schellekens Dammann, Elisabeth. The aesthetic value of ideas
2007, In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: One of the least controversial aspects of the highly provocative project that was early conceptual art was its wholesale rejection of the modernist paradigm. For artists adhering to the conceptual approach, modernism's loyalty to the notions of beauty, aesthetic sensation, and pleasing form, represented a commitment to obsolete artistic axioms.' Art, it was argued, should be purged of expressivist or emotivist aims; it was to '[free] itself of aesthetic parameters' and embrace an altogether different ontological platform. On this line, a conceptual artwork was taken to be 'a piece: and a piece need not be an aesthetic object, or even an object at all' (Binkley 1977: 265). In contrast to modernism, then, conceptual art set itself, from its very beginning, a distinctively analytic agenda by proposing to revise the kind of thing an artwork can be in order to qualify as such, and pronouncing aesthetics 'conceptually irrelevant to art' (Kosuth 1969). It is in view of this that conceptual art, to use the words of some of its most prominent exponents, can be understood as 'Modernism's nervous breakdown' (Art - Language 1997).
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