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Journal articles on the topic 'Conceptual art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Beach, Brett. "Conceptual Art." Prairie Schooner 90, no. 3 (2016): 72–84. http://dx.doi.org/10.1353/psg.2016.0136.

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2

Tamblyn, Christine. "Computer Art as Conceptual Art." Art Journal 49, no. 3 (1990): 253. http://dx.doi.org/10.2307/777116.

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3

Tamblyn, Christine. "Computer Art as Conceptual Art." Art Journal 49, no. 3 (1990): 253–56. http://dx.doi.org/10.1080/00043249.1990.10792699.

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4

Van Laeken, Alexandra. "Democratising conceptual art." Aesthetic Investigations 5, no. 2 (2023): 159–72. http://dx.doi.org/10.58519/aesthinv.v5i2.12781.

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In this paper I elaborate upon the elitist character of the mainstream theories on conceptual art. I show that the elitism is founded on wrong presumptions concerning the relation between artists and spectators. Working from the philosophy of Jacques Rancière, I reject the hierarchical structure present in the mainstream theories on conceptual art. Instead, I propose to take a ‘democratic turn’, as understood by Rancière. In such an outlook, the contribution of the spectator is revalued as equally active and creative as the contribution of the artist. The democratic turn has serious consequenc

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5

Dal, Sasso Davide. "Exploring Conceptual Art." Philosophical Readings VI, no. 2 (2015): 101–14. https://doi.org/10.5281/zenodo.34514.

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In a historical view, art has always offered different ways to distract us from reality. In this paper I will argue that art allows us to explore and discuss reality, its natural and social possibilities and complexity, as a consequence of its profound change since the 60s due to the establishment of Conceptual Art. My main arguments are the following ones. First I illustrate some philosophical and theoretical criticisms about Conceptual Art that emphasise its idealistic obstinacy based on the target of the dematerialisation of art object. Second I focus on the reductionism adopted by conceptu

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6

Steele, Jeffrey. "Notes on Conceptual Art." Aesthetic Investigations 2, no. 1 (2017): 10–22. https://doi.org/10.5281/zenodo.4118283.

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7

Smith, Trudi Lynn. "Photography After Conceptual Art." Visual Studies 26, no. 3 (2011): 270–71. http://dx.doi.org/10.1080/1472586x.2011.610953.

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8

Hanson, L. "Philosophy and Conceptual Art." British Journal of Aesthetics 48, no. 2 (2008): 229–31. http://dx.doi.org/10.1093/aesthj/ayn007.

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9

Steele, Jeffrey. "Notes on Conceptual Art." Aesthetic Investigations 2, no. 1 (2017): 10–22. http://dx.doi.org/10.58519/aesthinv.v2i1.11976.

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10

Mustafa, GÜRGÜLER. "Traditional Textile Art Carpet and Conceptual Art." International Journal of Humanities and Art Researches 8, no. 1 (2023): 85–97. https://doi.org/10.5281/zenodo.7742039.

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The gap arising between human relations is a product of post-industrial technology. The reflection of this situation on the human spirit emerges as a global problem. The proposed solutions are insufficient for the modern individual at the social level. As the crisis of the new generation modern age forces people to search continuously for a new identity, it also directs artists to draw attention to different disciplines, including the material, but this search deepens the gap that emerged. We need to be in a constant state of change, examine different cultures and, when necessary, include them

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11

Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.

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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from docum

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12

Costello, Diarmuid. "Conceptual Art and Aesthetic Ideas." Kantian Review 26, no. 4 (2021): 603–18. http://dx.doi.org/10.1017/s1369415421000388.

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AbstractThis paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the ap

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13

Marchán Fiz, Simón, and Isabel Adey. "‘Concept’ Art and Conceptual Aspects." Art in Translation 12, no. 3 (2020): 314–40. http://dx.doi.org/10.1080/17561310.2020.1876822.

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14

CRAY, WESLEY D. "Conceptual Art, Ideas, and Ontology." Journal of Aesthetics and Art Criticism 72, no. 3 (2014): 235–45. http://dx.doi.org/10.1111/jaac.12090.

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15

Leonard, George J. "Emerson, Whitman, and Conceptual Art." Philosophy and Literature 13, no. 2 (1989): 297–306. http://dx.doi.org/10.1353/phl.1989.0005.

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16

Matheson, C. "Who's Afraid of Conceptual Art?" British Journal of Aesthetics 53, no. 3 (2012): 369–73. http://dx.doi.org/10.1093/aesthj/ays039.

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17

COSTELLO, DIARMUID, and MARGARET IVERSEN. "INTRODUCTION: PHOTOGRAPHY AFTER CONCEPTUAL ART." Art History 32, no. 5 (2009): 825–35. http://dx.doi.org/10.1111/j.1467-8365.2009.00706.x.

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18

Lieto, Antonio, Rossana Damiano, and Vanessa Michielon. "Conceptual Models for Intangible Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 70–78. http://dx.doi.org/10.4000/mimesis.690.

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19

Akzar Maarij, Mohammed, and Haider Faisal Karim. "Conceptual art patterns in cinema." Al-Academy, no. 116 (June 15, 2025): 333–46. https://doi.org/10.35560/jcofarts1607.

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الفكرة هي الاداة التي تصنع الفن، حيث تعلو على الشكل فيصبح العمل عملية أبداعية مثل الفلسفة يحددها الجدل ووضع التساؤلات، وهنا فك الارتباط بين الممتلقي ووظيفة الفن، وتوظيف المدرك البصري مع الحواس، والتحرر من قيود الصنعة الشكلية، حيث يتخطى العمل المفاهيمي بتحويل الواقع وصياغته من جديد بأساوب فني في الجمال المطلق، لذلك ينظر الى الواقع هو المجال الاساسي للمقابلة الجمالية اي تحوي بحد أدنى للجمال، وتحويل العمل من مضمون الى مفهوم اي التحرر من القيود. يتناول البحث في فصوله المتعددة الإطار المنهجي متمثل (بمشكلة البحث والاهمية والاهداف والحدود) والتعرف على مصطلح المفاهيمية في تحديد المصطلحات، بينما في الف

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20

Corris, Michael. "Brain . . . and After: From Conceptual Art to Conceptual Startegies." Art History 24, no. 3 (2001): 445–49. http://dx.doi.org/10.1111/1467-8365.00273.

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21

Joselit, David. "Conceptual Art of the Press Release, or Art History without Art." October 158 (October 2016): 167–68. http://dx.doi.org/10.1162/octo_a_00276.

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As in neoliberal market theory, where maximal information is said to make markets more efficient, what Joselit calls “Conceptual art of the press release” (in which the artwork is “translated” into text as a proposition about its meaning) makes even difficult art easy to consume. The once radical proposal of Conceptual art—that objects exist in a transactional relation with text (and prosaic photographic documents)—has now become business as usual. But this is not merely the result of the now-standard practice of training artists in MFA programs, where learning consists of verbally justifying

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22

Small, Irene V. "Believing in Art: The Votive Structures of Conceptual Art." Res: Anthropology and aesthetics 55-56 (March 2009): 294–307. http://dx.doi.org/10.1086/resvn1ms25608850.

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23

Shanken, Edward A. "Art in the Information Age: Technology and Conceptual Art." Leonardo 35, no. 4 (2002): 433–38. http://dx.doi.org/10.1162/002409402760181259.

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Art historians have generally drawn sharp distinctions be-tween conceptual art and art-and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus-ing on the art criticism of Jack Burnham and the artists in-cluded in the Software exhibition that he curated. The historiciza-tion of these practices as distinct artistic categories is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tenden-cies share

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24

Lee, Eun-Hee, and Ji-Hyun Sohn. "Expanding Recognition of Art through Conceptual Art Appreciation Activities." Journal of Research in Art Education 23, no. 3 (2022): 83–101. http://dx.doi.org/10.20977/kkosea.2022.23.3.83.

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25

P., Mahalakshmi. "An Art of Review on Conceptual based Information Retrieval." Webology 18, no. 1 (2021): 51–61. http://dx.doi.org/10.14704/web/v18i1/web18026.

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26

Ilfeld, Etan J. "Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art." Leonardo 45, no. 1 (2012): 57–63. http://dx.doi.org/10.1162/leon_a_00326.

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This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one ofte

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27

Polsky, Anton. "Conceptual Post-Street Art in Russia." Street Art & Urban Creativity 6, no. 2 (2020): 103–9. https://doi.org/10.25765/sauc.v6i2.223.

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Global street art turned into a neo-pop(ulist) post-street art (inter)muralist movement operating with simple visual messages easily accessible for people via Instagram. Artists’ anti-capitalist pseudo-critical statements—what I call ‘protest for sale’— circulating in social media are easily co-opted by creative city discourse, the capitalist neoliberal system, discipline society, and the art market. Artists’ voices from peripheral scenes and regions dealing with local contexts, languages, and communities, and those who work in a more nuanced and sophisticated way are overshadowed by street ar

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28

Stanowski, Mariusz. "Conceptual Art and Abstraction: Deconstructed Painting." Leonardo 53, no. 5 (2020): 485–91. http://dx.doi.org/10.1162/leon_a_01859.

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This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the dominance of referential art following the conceptualist period. Referential artw

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29

Art & Language. "Voices off: Reflections on Conceptual Art." Critical Inquiry 33, no. 1 (2006): 113. http://dx.doi.org/10.2307/3877144.

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30

Suyum, F. Nazlı, and Canan Zöngür. "Conceptual art in Turkey: Cengiz Çekil." Journal of Art and Architecture Studies 9, no. 1 (2020): 23–29. http://dx.doi.org/10.51148/jaas.2020.4.

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31

Thompson, John. "Demateriality and Photography in Conceptual Art." Art History 45, no. 1 (2022): 192–97. http://dx.doi.org/10.1111/1467-8365.12622.

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32

Anderson, Jonathan A. "Conceptual Art, Theology, and Re-Presentation." Religions 13, no. 10 (2022): 984. http://dx.doi.org/10.3390/rel13100984.

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Within the vast and varied scholarship of contemporary art, the relations between conceptual art and religion generally have not received careful investigation. There are, however, potentially quite subtle and complicated interrelations in play here that warrant closer study. This article develops and expands such study, first, by clarifying how procedural and re-presentational ways of thinking function in conceptual art, and, second, by showing how these help us to identify six general “logics” within which the interrelations of conceptual art and religion might be reexamined in the histories

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33

Alexenberg, Mel. "Eruv as Conceptual and Kinetic Art." Images 5, no. 1 (2011): 56–57. http://dx.doi.org/10.1163/187180011x604373.

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34

David W. Galenson. "Conceptual Revolutions in 20th-Century Art." Historically Speaking 10, no. 5 (2009): 20–22. http://dx.doi.org/10.1353/hsp.0.0078.

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35

HANSON, LOUISE. "Conceptual Art and the Acquaintance Principle." Journal of Aesthetics and Art Criticism 73, no. 3 (2015): 247–58. http://dx.doi.org/10.1111/jaac.12181.

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36

Wah Wai, Hon. "RP in art and conceptual design." Rapid Prototyping Journal 7, no. 4 (2001): 217–19. http://dx.doi.org/10.1108/eum0000000005895.

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37

Everett, John, and Wally Gilbert. "Art and touch: a conceptual approach." British Journal of Visual Impairment 9, no. 3 (1991): 87–89. http://dx.doi.org/10.1177/026461969100900306.

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38

Leuthold, Steven. "Conceptual Art, Conceptualism, and Aesthetic Education." Journal of Aesthetic Education 33, no. 1 (1999): 37. http://dx.doi.org/10.2307/3333734.

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39

Kolbowski, Silvia. "An Inadequate History of Conceptual Art." October 92 (2000): 52. http://dx.doi.org/10.2307/779233.

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40

Giovanna Mancini, Maria, and Luigi Sauro. "A Conceptual Model for Art Criticism." Život umjetnosti, no. 105 (December 31, 2019): 138–57. http://dx.doi.org/10.31664/zu.2019.105.06.

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In this work, we present a detailed analysis of the different acceptations and practices of art criticism. This investigation underpins a novel conceptual modelling that extends Cidoc CRM and has been specifically designed to semantically annotate art criticism-related data and documents in order to enhance in this context interoperability and more efficient data retrieval.

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41

Mosquera, Gerardo. "Encounters/displacements: Conceptual art and politics." Third Text 7, no. 24 (1993): 87–91. http://dx.doi.org/10.1080/09528829308576440.

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42

Melnyk, Myroslava. "Theatre art: Conceptual and categorical problems." Interdisciplinary Cultural and Humanities Review 2, no. 3 (2023): 46–52. http://dx.doi.org/10.59214/cultural/3.2023.46.

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Theatre art is a fundamental component of modern culture and requires a detailed analysis of the problems of a set of interrelated concepts, which will reflect the key substantive and functional aspects concerning theatre art. The research relevance is determined by the description of the problems of the conceptual and categorical apparatus of theatrical art for the first time is subjected to a complex structural and semantic analysis, which is necessary to determine the study of ways of forming new terms, which will make it possible to present the system of modern theatrical terminology in a

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43

Melnyk, Myroslava. "Theatre art: Conceptual and categorical problems." Interdisciplinary Cultural and Humanities Review 3, no. 1 (2024): 46–52. http://dx.doi.org/10.59214/cultural/1.2024.46.

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Theatre art is a fundamental component of modern culture and requires a detailed analysis of the problems of a set of interrelated concepts, which will reflect the key substantive and functional aspects concerning theatre art. The research relevance is determined by the description of the problems of the conceptual and categorical apparatus of theatrical art for the first time is subjected to a complex structural and semantic analysis, which is necessary to determine the study of ways of forming new terms, which will make it possible to present the system of modern theatrical terminology in a

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44

Émond, Anne-Marie. "Identifying a Conceptual Framework for the Study of Visitors’ Verbalizations of Self-Awareness while Exploring Contemporary Art in a Museum Context." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (2016): 153. http://dx.doi.org/10.26443/crae.v43i1.23.

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Abstract: Within the context of a research project in a museum setting where adults are engaged with contemporary art, the purpose of the article is to outline a comprehensive conceptual framework for the identification of moments of self-awareness. In particular, based on the analysis of 70 adult visitors’ discourses, we advocate the use of Morin’s model of self-information and levels of self-awareness to identify and articulate moments underlying the discovery of self that could contribute to an optimal museum experience. The transposition of Morin’s model into a conceptual framework will he

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45

Watten, Barrett. "Presentism and Periodization in Language Writing, Conceptual Art, and Conceptual Writing." Journal of Narrative Theory 41, no. 1 (2011): 125–61. http://dx.doi.org/10.1353/jnt.2011.0093.

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46

Minissale, Gregory. "Conceptual Art: A Blind Spot for Neuroaesthetics?" Leonardo 45, no. 1 (2012): 43–48. http://dx.doi.org/10.1162/leon_a_00324.

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Conceptual art presents an important challenge for neuroaesthetics. Such art helps to stimulate complex psychological events—beyond the perceptual responses usually studied by neuroscience. If science is to engage meaningfully with art, scientists need to address the conceptual content of our experience of many different kinds of art. As a test case, this essay suggests that neuroaesthetics should come to terms with works such as Marcel Duchamp's Bôite-en-valise (1935–1941), which is representative of many artworks and art exhibitions organized into composite parts or groups of works. The essa

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47

Abdul Hakeem Abdul Ridha, Fadhil, and Muhammad Ali Alwan Qaragholi. "The Written Text in Conceptual Art (An Analytical Study)." Al-Academy, no. 108 (June 14, 2023): 175–96. http://dx.doi.org/10.35560/jcofarts108/175-196.

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The tagged research problem (the outputs of the written text in conceptual art) dealt with a comparative analytical study in the concept of conceptual art trends (land art - body art - art - language). The study consisted of four chapters. The first chapter dealt with the theoretical framework, which was represented in presenting (the research problem), which raised the following question: What is the role of the written text in the transformations of the conceptual arts? The first chapter included (the importance of research) and (research objectives) seeking to conduct comparative research i

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48

Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.

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49

Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.

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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio

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50

권순왕. "Conceptual Printmaking and Apparatus of Contemporary Art." Korean Journal of Art and Media 13, no. 4 (2014): 9–36. http://dx.doi.org/10.36726/cammp.2014.13.4.9.

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