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What is conceptual art? Is it really a kind of art in its own right? Is it clever - or too clever?Of all the different art forms it is perhaps conceptual art which at once fascinates and infuriates the most. In this much-needed book Peter Goldie and Elisabeth Schellekens demystify conceptual art using the sharp tools of philosophy. They explain how conceptual art is driven by ideas rather than the manipulation of paint and physical materials; how it challenges the very basis of what we can know about art, as well as our received ideas of beauty; and why conceptual art requires us to

Conceptual art. --- Aesthetics --- Art --- Conceptual art --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Beautiful, The --- Beauty --- Art and philosophy --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Criticism --- Literature --- Proportion --- Symmetry --- Analysis, interpretation, appreciation --- Psychology --- Aesthetics of art --- anno 1900-1999 --- Aesthetics. --- Philosophy. --- Radio broadcasting Aesthetics --- Art - Philosophy. --- Art -- Philosophy.

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Conceptual art --- Installations (Art) --- Multimedia (Art) --- Multi media (Art) --- Arts --- Installation art --- Art, Modern --- Environment (Art) --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Performance art --- Earthworks (Art) --- Sky art --- Almeida, Neville d' --- Oiticica, Helio, --- Oiticica, Hélio, --- D' Almeida, Neville --- De Almeida, Neville --- Criticism and interpretation.

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On July 9, 1975, Dutch-born artist Bas Jan Ader set sail from Chatham, Massachusetts, on a thirteen-foot sailboat. He was bound for Falmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. The damaged boat was found south of the western tip of Ireland nearly a year later. Ader was never seen again. Since his untimely death, Ader has achieved mythic status in the art world as a figure literally willing to die for his art. Considering the artist's legacy and concise oeuvre beyond the romantic and tragic associations that accompany his peculiar end, Alexander Dumbadze resituates Ader's art and life within the conceptual art world of Los Angeles in the early 1970s and offers a nuanced argument about artistic subjectivity that explains Ader's tremendous relevance to contemporary art. Bas Jan Ader blends biography, theoretical reflection, and archival research to draw a detailed picture of the world in which Ader's work was rooted: a vibrant international art scene populated with peers such as Ger van Elk, William Leavitt, and Allen Ruppersberg. Dumbadze looks closely at Ader's engagement with questions of free will and his ultimate success in creating art untainted by mediation. The first in-depth study of this enigmatic conceptual artist, Bas Jan Ader is a thoughtful reflection on the necessity of the creative act and its inescapable relation to death.

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By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century's most transformative movements-one artistic, one expansively theoretical-and she reveals their shared dream-or nightmare-of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art's embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.

Conceptual art. --- Structuralism. --- Structure (Philosophy) --- Philosophy --- Whole and parts (Philosophy) --- Form (Philosophy) --- Poststructuralism --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- art, artistic, artist, affect, humanism, antihumanist, visual studies, culture, cultural, 1960s, theories, theoretical, theorists, levi strauss, lacan, foucault, barthes, language, information, systems, linguistics, linguists, structuralist, interdisciplinary, structuralism, mary kelly, robert morris, smithson, rosalind krauss, signs, conceptual.

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One of the most important movements in twenty-first century literature is the emergence of conceptual writing. By knowingly drawing on the histories of art and literature, conceptual writing upended traditional categorical conventions. Postscript is the first collection of writings on the subject of conceptual writing by a diverse field of scholars in the realms of art, literature, media, as well as the artists themselves. Using new and old technology, and textual and visual modes including appropriation, transcription, translation, redaction, and repetition, the contributors actively challenge the existing scholarship on conceptual art. Rather than segregating the work of visual artists from that of writers we are shown the ways in which conceptual art is, and remains, a mutually supportive interaction between the arts.

Art and literature. --- Literature, Experimental. --- Conceptual art. --- Conceptualism. --- Written communication. --- Written discourse --- Written language --- Communication --- Discourse analysis --- Language and languages --- Visual communication --- Nominalism --- Realism --- Scholasticism --- Universals (Philosophy) --- Art, Conceptual --- Concept art --- Language art (Fine arts) --- Possible art --- Post-object art --- Art, Modern --- Performance art --- Earthworks (Art) --- Sky art --- Avant-garde literature --- Experimental literature --- Avant-garde (Aesthetics) --- Modernism (Literature) --- Literary style --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- kunst --- litteratur --- konseptkunst --- eksperimentell skriving --- skrivekunst --- kommunikasjon