CONCEPTUAL ART

CONCEPTUAL ART

-not minimalism as that looks at perception - can be mistaken with minimalism, living where everything is post conceptual art it can seem like everything with a 'concept' is conceptual art. minimalism situation in which the viewer finds themselves in

aesthetic experience of looking at object formalism

artist (cannot remember name) 2 spaces, primary space is catalog of texts linking to artworks, secondary space with material objects THEY ARE SUPPLEMENT to the texts
idea of idea = record of object

materialises in many different forms
conceptual art is about openness, openness of ideas and outcome everything - i am very open in the outcome and ideas of work i have no set medium nor do i like the term medium really as it places restraints on things, that set the work back.
IDEA can generate work (very much what all art nowdays follows)
not reduced  to any material form
DE-MATERIALISATION is big part of conceptualism, however not something i find relative to my practise, however it is certainly something i would now to like experiment with. i guess performance is a form of de-materialisation but once shown as video it becomes something material, tricky.
I am a very material person, despite also being focused around ideas. "TRUE conceptual art" i am not. but my work values thought over material. BATTLE
We are all not artists post conceptualism, how does this effect us? in a world where everything is now conceptual - does conceptual art of this nature have a place.
Douglas Hubler - work dedicated to making a portrait of everyone alive BUT IMPOSSIIBLE
every minute death and birth, loosing and gaining people
changes - non-material changes
TENSION BETWEEN PROPOSITION OF THING AND THING BEING CARRIED OUT.
Proposition must be re-done or left alone! proposition as idea.
SETH ZIEGELAUB
1. The artist may construct
2. the piece may be fabricated
3.the piece may not be built
each being equal and constant within intent of artist the descion as condition rests with the conceptual practise - identity
LAURENCE WEINER
Place exists as title and then something being done
points to notion of de-materialisation aesthetic centres of work  - MATTTER must be involved
WHY CAN BOTH NOT BE INVOLVED
CARL ANDRE
The Tate paid a lot of money for a pile of bricks
making simple structure gravity to do the work for him
horizontal lake things not being erected to the sky but flat to ground - buildings going up and up reach infinity or god in the sky NO flatness is key
material strip everything away to matter
self sufficient, no extra fuss, he helps himself and that is it. The bricks are not important it could be any bricks!
work exists in that moment the dispersed and re-made - like performance in many ways - although does performance change with other actors, yes? but bricks the same with different bricks
IMPORTANCE OF STRUCTURE a moment in time
LIMITS OF WHAT WORK CAN BE REDUCING DOWN SO WORK BECOMES JUST WHAT IT IS
Martin Creed work number 227 the lights going off