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Conceptual art, sometimes simply called Conceptualism, is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Many works of conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions.〔(''Facsimile of original instructions for Wall Drawing 811 by Phil Gleason, with a view of the installed work at Franklin Furnace. October 1996. )〕 This method was fundamental to American artist Sol LeWitt's definition of Conceptual art, one of the first to appear in print: Tony Godfrey, author of ''Conceptual Art (Art & Ideas)'' (1998), asserts that conceptual art questions the nature of art, a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, "Art after Philosophy" (1969). The notion that art should examine its own nature was already a potent aspect of the influential art critic Clement Greenberg's vision of Modern art during the 1950s. With the emergence of an exclusively language-based art in the 1960s, however, conceptual artists such as Joseph Kosuth, Lawrence Weiner and the English Art & Language group began a far more radical interrogation of art than was previously possible (see below). One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects.〔Joseph Kosuth, "Art After Philosophy" (1969). Reprinted in Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 232〕〔Art & Language, Art-Language (journal): Introduction (1969). Reprinted in Osborne (2002) p. 230〕〔Ian Burn, Mel Ramsden: "Notes On Analysis" (1970). Reprinted in Osborne (2003), p. 237. E.g. "The outcome of much of the 'conceptual' work of the past two years has been to carefully clear the air of objects."〕 Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage, particularly in the UK, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture.〔(''Turner prize history: Conceptual art'' Tate gallery ) tate.org.uk. Accessed August 8, 2006〕 It could be said that one of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always entirely clear what "concept" refers to, and it runs the risk of being confused with "intention." Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention." ==History== The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance. The most famous of Duchamp's readymades was ''Fountain'' (1917), a standard urinal-basin signed by the artist with the pseudonym "R.Mutt", and submitted for inclusion in the annual, un-juried exhibition of the Society of Independent Artists in New York (which rejected it).〔 Tony Godfrey, Conceptual Art, London: 1998. p. 28 〕 The artistic tradition does not see a commonplace object (such as a urinal) as art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was later acknowledged by US artist Joseph Kosuth in his 1969 essay, "Art after Philosophy," when he wrote: "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually". In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. This concept, also called ''Art esthapériste'' (or "infinite-aesthetics"), derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually. The current incarnation () of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term "concept art", coined by the artist Henry Flynt in his article bearing the term as its title, appeared in a proto-Fluxus publication An Anthology of Chance Operations.〔(The first text in which the category "concept art" appeared was written by Henry Flynt around 1961–1963. )〕 However, it assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry into the artist's social, philosophical and psychological status. By the mid-1970s they had produced publications, indices, performances, texts and paintings to this end. In 1970 ''Conceptual Art and Conceptual Aspects'', the first dedicated conceptual-art exhibition, took place at the New York Cultural Center.〔(Artlex.com ) 〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「conceptual art」の詳細全文を読む スポンサード リンク
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