Conceptual art: Fluxus, Digital art, Interactive art, Agrippa, Democracy and Desire, I am a Curator, Sensation, Ronald Jones, Robert Watts, Systems art, Water Yam, Giulio Paolini, Immersion, Twentysix Gasoline Stations, Digital painting, Vision Forum

Source: Wikipedia. Pages: 94. Chapters: Fluxus, Digital art, Interactive art, Agrippa, Democracy and Desire, I am a Curator, Sensation, Ronald Jones, Robert Watts, Systems art, Water Yam, Giulio Paolini, Immersion, Twentysix Gasoline Stations, Digital painting, Vision Forum, Zone de Sensibilité Picturale Immatérielle, An Oak Tree, The Invisible Generation, Yves Peintures, Music without sound, One and Three Chairs, Fluxus 1, Spice Chess, Source: Music of the Avant Garde, Social sculpture, Electronic art, Globus Cassus, Tradigital art, Experiments in Art and Technology, Dimanche, Un Coup de Dés Jamais N'Abolira Le Hasard, Neo-conceptual art, The Thing, Grapefruit, Linee, AlphaSphere, Information art, Sunpendulum, Eric Andersen, Literaturwurst, Just Another Asshole, Art in Ruins, Audio Arts cassettes, The Nomadic Project, Corpo d'aria, Art & Project, Bench Around the Lake, Conceptual photography, Endre Tot, Workers, Unrealised Projects, The Flying Grass Carpet, Seth Siegelaub, Serial art, Intermedia, Speed painting, This is the Public Domain, Begrepp - En samling, Nesting for Peace, Experimental travel, Castle Gnome, Sudac Collection, Hornsleth Village Project, NSCAD conceptual art, Moscow Conceptualists, The Golden Brick, DeFence, War Room, Gorgona Group, Public Smog, Generali Foundation, 32 Postkarten, Sam Ely and Lynn Harris, Awareness Muscle, Romantic conceptualism, Apology Project. Excerpt: Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Many of the works, sometimes called installations, of the artist Sol LeWitt may be constructed by anyone simply by following a set of written instructions. This method was fundamental to 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. 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 practise the traditional skills of painting and sculpture. 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 descr