What is Conceptual Art

WHAT IS  – –

Conceptual Art ?  – – – – – – – – – – – – – – – – – – – – – – – –

Education and Community Programmes, Irish Museum of Modern Art, IMMA

CONTENTS

What is __? talks series Introduction: Conceptual Art

page 03 page 04

What is Conceptual Art? - MIck Wilson Further Reading

page 08 page 20

Glossary of terms Conceptual Art Resources

page 21 page 24

Brian O’Doherty, Drawing for Marcel Duchamp, 1967.

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THE  WHAT IS 

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IMMA Talks Series ?  – – – – – –– – –– – – – – – – – – – – – – –– –

There is a growing interest in Contemporary Art, yet the ideas and theoretical frameworks which inform its practice can be complex and difcult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art.

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Thi erie repreet a repoe to a mber o chaege. Firty, the iheret probem ad cotradictio that arie whe attemptig to otie or mmarie the wide-ragig, cotaty chagig ad coteted phere o both art theory ad practice, ad ecody, the e o mmary term to decribe a rage o practice, may o which emerged i oppoitio to ch totaiig tedecie. Takig thee chaege ito accot, thi tak erie oer a rage o perpective, drawig o expertie ad experiece rom ectrer, artit, crator ad critica writer ad i either deitive or exhative. The itetio i to provide backgrod ad cotexta iormatio abot the art ad artit eatred i IMMA’ exhibitio ad coectio i particar, ad abot Cotemporary Art i geera, to promote iormatio harig, ad to ecorage critica thikig, debate ad dicio abot art ad artit. The tak erie addree apect o Moder ad Cotemporary Art paig the period rom the 1940 to the preet. Each tak wi be pported by a iormatio eaet which icde a mmary, the preeter’ eay, a readig it, a goary o term ad a reorce it. Thi iormatio ca ao be od o IMMA’ webite aog with more detaied iormatio abot artwork ad artit eatred i IMMA’ Coectio at www.imma.ie.

WHAT IS  – –

Conceptual Art ?  – – – – – – – – – – – – – – – – – – – – – – – – –

Introduction

The Irih Mem o Moder Art i the atioa ctra itittio or the coectio ad preetatio o Moder ad Cotemporary Art. IMMA exhibit ad coect Moder ad Cotemporary Art by etabihed ad emergig Irih ad iteratioa artit. The Temporary Exhibitio Programme eatre work by etabihed ad emergig artit, ad icde work ragig rom paitig, cptre, itaatio, photography, video ad perormace. IMMA origiate may o it exhibitio bt ao work coey with a etwork o iteratioa mem ad gaerie. IMMA’ Coectio icde artwork paig a rage o media ad gere, acqired throgh prchae, doatio, oa ad commi-

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io, may i aociatio with IMMA’ Temporary Exhibitio Programme ad, o occaio, IMMA’ Artit’ Reidecy Programme. Thi itrodctory text provide a brie overview o Cocepta Art. Aociated term are idicated i CAPITAls ad are eaborated o i a goary o page 21. We ivited Mick Wio, Dea o the Gradate schoo o Creative Art ad Media (GradCAM) to cotribte a eay etited What is Conceptual   Art?, which coider the reevace o Cocepta Art both a a ietia art

movemet drig a particar period o time bt ao, more broady, a a ramework or creatig ad dertadig art which remai reevat to Cotemporary Art practice. IMMA’ Coectio icde work by a mber o artit aociated with Cocepta Art, ch a Marce Dchamp, Joeph Koth, so leWitt, lawrece Weier, Dei Oppeheim, Art ad lagage, Matt Mica, Bria O’Doherty/ Patrick Iread, Michae Craig-Marti, Jame Coema ad Gibert ad George. The egacy o Cocepta Art i evidet i the work o a ew geeratio o artit whoe work i ao eatred i IMMA’ Coectio, icdig Damie Hirt, Marc Qi, Doga Gordo, Rebecca Hor, liam Giick, Phiippe Parreo ad Garret Phea. We hope to draw attetio to the potetia o IMMA’ exhibitio ad Coectio a reorce i the tdy ad coideratio o Cocepta Art, ad that thee text wi ecorage critica egagemet with the debate that cotie to iorm Cotemporary Art.

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What is Conceptual Art?

COnCEPTuAl ART reer to a divere rage o art itic practice rom the ate 1960 to the eary 1970, where emphai wa paced o the cocept or idea rather tha the phyica art object. It ao reer more geeray to a ramework or creatig ad dertadig COnTEMPORARY ART, which prioritie a coideratio o the idea or cocept, ad the itergratio o cotext whe ecoterig the work. The origi ad meaig o the term i dipted, a Cocepta Art dee traditioa orm o deitio ad categoriatio, ad caot be idetied by a iorm tye or medim. Cocepta Art emerged drig a period o ocia, poitica ad ctra pheava i the 1960. It wa a reactio to the perceived cotrait o MODERnIsM ad the icreaig commodicatio o the art object. Artit oght the mea to thik beyod the medim-pecic apect o traditioa art orm, ch a origiaity, tye, expreio, crat, permaece, decoratio ad dipay, attribted to PAInTInG ad sCulPTuRE. They ed lAnGuAGE ad TEXT to directy diemiate idea, demytiy artitic prodctio ad egate viaity. Artwork took the orm o writte tatemet, decaratio, deitio ad ivitatio. A a coeqece, thi period ha bee decribed i term o the ‘demateriaiatio’ o the art object; a otio coteted by ome artit who arge that a idea are accompaied by ome orm o artitic materia, whether it i a photograph, ketch, itrctio or map. Iteratioay, Cocepta Art i recogied or it e o both text ad ephemera or everyday materia, ch a FOunD OBJECTs, READYMADEs, PHOTOGRAPHY, VIDEO, PERFORMAnCE, DOCuMEnTATIOn ad FIlM.

Lawrence Weiner, (...) WATER & SAND + STICKS & STONES (...), 1991. Image:

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Michael Craig-Martin, On the Table, 1970. Image:

Hitoricay, Frech artit MARCEl DuCHAMP pioeered a cocepta approach to art with hi readymade, pre-emptig may qetio pred by Cocepta artit regardig what i art ad who determie it. Cocepta tedecie ca ao be od i the ‘ati-art getre’ o DADAIsM, COnsTRuCTIVIsM, POP ART, MInIMAlIsM ad FluXus. Bt it wa Cocepta artit who iterrogated the ormative ctra tat ad perceptio o the via art object with mot rigor, beievig art cod act a a ctra itervetio, ad that it caot be coidered i ioatio rom it ocia, poitica ad ecoomic eviromet. Thi ewy acqired cepticim qetioed traditioa orm o marketig the art object a a decorative, via COMMODITY, chaegig the owerhip, ditribtio ad athorhip o the art object. The hit i emphai rom art’ materia vae wa a deiberate attempt to  bvert the atoomy ad power o the art market, ad the GAllERY or MusEuM a the ocatio, arbiter ad oe repreetative o art. Cetra to dirptig the covetioa ogic o art ytem wa the roe paced o the adiece, who were viewed a active participat i the diemiatio ad expaio o idea ad the democratiatio o art. Behodig the idea wa to behod the artwork; dermiig the private owerhip o art a object ad the covetioa coditio o pectatorhip. Artit

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empoyed trategie rom the ma MEDIA, ch a magazie, biboard ad teeviio broadcat, to bypa the mem ad gaery ad to ditribte art withi the pbic domai. To expad o the critiqe o art, idea were orced rom phioophy, lInGuIsTICs, sEMIOTICs ad CRITICAl THEORY. Cocepta Art i hgey ietia, coidered by ome to be the trig poit rom Moder to Cotemporary Art practice. It iece ca be ee i perormace art, lAnD ART, InsTAllATIOn ART, PARTICIPATORY ART, sITE sPECIFIC ART, nEW MEDIA ART, RElATIOnAl ART ad PuBlIC ART. It repaced a object-baed practice with a reexive preoccpatio with the objecticatio o art. Artit took o the poitio o CRITIC ad CuRATOR, ad et ot the parameter o a debate that art practitioer cotie to addre. For ome, Cocepta Art i coidered a overy iteecta ad ati-aethetic art orm. Withi the dicore o InsTITuTIOnAl CRITIQuE, Cocepta Art i coidered a paradoxica exercie, i that the very itittio which were the oc o it critiqe have ow appropriated ad itrmetaied it trategie ad methodoogie, whit imtaeoy etraiig it broader ocia ad poitica impact. Cocepta Art cotie to iorm Cotemporary Art theory ad practice, ad ha cotribted to a revied dertadig o art, radicaiig mode o preetig, exhibitig ad coectig art. sophie Byre, Aitat Crator Tak ad lectre Programme lia Mora, Crator Edcatio ad Commity Programme

What is Conceptual Art?

Mick Wilson

Cocepta art i ot abot orm or materia, bt abot idea ad meaig. It caot be deed i term o ay medim or tye, bt rather by the way it qetio what art i. I particar, Cocepta art chaege the traditioa tat o the art object a iqe, coectabe ad/or aeabe. […] Thi art ca take a variety o orm: everyday object, photograph, map, video, chart ad epeciay agage ite. Ote there wi be a combiatio o ch orm. […] Cocepta art ha had a determiig eect o the thikig o mot artit.1 Toy Godrey, 1998

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I wi reer to the kid o art which I am ivoved i a cocepta art. I cocepta art the idea or cocept i the mot importat apect o the work. […] The idea become a machie that make the art. […] Cocepta art i ot eceariy ogica. […] The idea eed ot be compex. Mot idea that are cce are dicroy impe. 2 so leWitt, 1967 Cocepta art, or me, mea work i which the idea i paramot ad the materia orm i ecodary, ightweight, ephemera, cheap, pretetio ad/ or “demateriaized.” […] Thi ha ot kept commetator over the year rom caig virtay aythig i covetioa medim “Cocepta art.” […] There ha bee a ot o bickerig abot what Cocepta art i/wa; who bega it; who did what whe with it; what it goa, phioophy, ad poitic were ad might have bee. I wa there, bt I do’t trt my memory. I do’t trt ayoe ee’ either. Ad I trt eve e the athoritative overview by thoe who were ot there. 3 lcy lippard, 1972 Cocept art i rt o a a art o which the materia i cocept, a the materia o e.g. mic i od. sice cocept are coey bod p with agage, cocept art i a kid o art o which the materia i agage. 4 Hery Fyt, 1961

I choe to work with iert ga becae there wa ot the cotat preece o a ma object or device that prodced the art. Iert ga i a materia that i imperceivabe - it doe ot combie with ay other eemet […] That i what ga doe. Whe reeaed, it retr to the atmophere rom where it came. It cotie to expad orever i the atmophere, cotaty chagig ad it doe a o thi withot aybody beig abe to ee it. 5 Robert Barry, 1969

Introduction

The qotatio which begi thi eay etabih mot o the key theme i dicig cocepta art: the priority give to idea; the ambigo roe o acta object ad materia; the eed to rethik the mechaim o ‘dipay’ ad ditribtio o art; the icreaigy importat roe or agage; ad the tedecy to trobe core deitio both o ‘art’ i geera ad o ‘cocepta art’ ite i particar. Thi repeated pay with deitio – ‘What i the imit o what ca be icded der the headig “art”?’ ‘What i the mot redced ad cocie way i which a cocepta artwork ca be “give” or the adiece to

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“experiece”?’ – make awerig the qetio ‘What i cocepta art?’ a itte tricky, bt ao very worthwhie. Perhap the eaiet way to itrodce cocepta art i to coider ome exampe o work typicay decribed a ‘cocepta’. Robert Racheberg ed a teegram to the Gaerie Iri Cert which ay: ‘Thi i a portrait o Iri Cert i I ay o’ a hi cotribtio to a exhibitio o portrait i the gaery, (1961).6 staey Brow ak paer-by i Amterdam to how him the way to a particar pot i the city ig pe ad paper, ( This way Brouwn, 1961).7 Joh Badeari itrct a ig paiter to pait the oowig word o a cava: ‘stdy the compoitio o paitig. Ak yore qetio whe tadig i rot o a we-compoed pictre. What ormat i ed? What i the proportio o width to height?’, ( Composing on a Canvas , 1966-8).8 Cido Meiree cree-prit bverive meage oto Coca-Coa ga botte ad re-circate thee o that they are re-ed or eig Coca-Coa ( Ideological  Circuits: Coca-Cola Project , 1970).9 Joeph Koth exhibit a erie o back-

ad-white phototat o dictioary deitio or word ch a ‘meaig’ ad ‘ivera’, ( Art as ideas as idea, 1966). Adria Piper exhibit a hort text ayig: ‘The work origiay iteded or thi pace ha bee withdraw. […] I bmit it abece a evidece o the iabiity o art expreio to have a meaig exitece der coditio other tha thoe o peace, eqaity, trth, trt ad reedom,’ (1970).10

Less the medium, more the message

Thi term ‘cocepta art’ ha become the mot widey ed ame or work ch a thee, which orm a broad pectrm o experimeta artwork ad practice that deveoped rom the 1960 oward. Thee ew art practice o oger eceariy deped o the prodctio o dicrete oe-o phyica object; or eceariy e traditioa media ad techiqe ike pictremakig with pait or modeig with cay or catig with broze or aembig with meta ad wood; or eve demotrate a pecicay prooced ‘via’ or ‘had made’ apect. Typicay, thogh ot withot importat exceptio, art makig prior to thi deveopmet had bee a matter o workig directy withi reativey amiiar art orm ad media – paitig, cptre, drawig, ad pritmakig – to prodce dicrete object. Cocepta art ca make e o thee orm o occaio, bt it o oger reqire thee orm i order to prodce omethig that caim a adiece’ attetio a a artwork – the emphai i geeray ot paced o a pecic materia arteact or o had-cratig or techica-makig procee a ch, or eve o the ‘expreive’ peroaity o the artit, bt rather o a rage o cocer that emphaie the roe o ‘idea’. However, ch geeraiatio are reay oy rogh approximatio – i may way the it o work provided above cod be ed a coter-

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exampe: or exampe, Robert Barry’ work with iert gae i cetray baed o a materia proce, the diio o the gae ito the atmophere; however, thi proce i ot avaiabe to perceptio i the a term o art viewig. Thi pay o betwee percept (what i give i the experiece) ad cocept (what i propoed a orgaiig the experiece meaigy) i a recrret eatre o mch cocepta art which make e o the ambigo iterpay o agage, percepta experiece ad the cocepta orgaiatio o experiece.

When was Conceptual Art?

Mot commetator idetiy the period rom 1966 to 1972 a the key phae o deveopmet: a period that cocde with the caoiatio o coceptaim i the cotroveria iteratioa rvey exhibitio Docmeta V i Germay orgaied by Harad szeema,11 ad the rt pbicatio o lcy lippard’ ote cited book that map cocepta art, Six Years: The Dematerialization o the Art  Object rom 1966 to 1972, i the us.12 However, thi eat packagig o ctra

practice i ch cripy deimited movemet ad period, with cear begiig ad edig, i away, to a greater or eer degree, mieadig, athogh ch periodiatio are ometime e i mmariy itrodcig compex ctra hitorica materia. The key probem preeted by mappig cocepta art i the degree to which it ha come to reoriet the etire ed o moder art, o that prodcig a accot o cocepta art ope p a whoe rage o reoved ie that cotie to vex participat i cotemporary art debate.

A rough answer to the question

so a a rt rogh attempt at a awer to the qetio ‘What i cocepta art?’, we cod propoe omethig ike: cocepta art, i the ame or a broad tedecy to hit the prioritie or makig, decribig, thikig abot, givig vae to, ad ditribtig work o art, toward qetio o idea rather tha techiqe. Thi i a tedecy that i trogy evidet ice the 1960. Thi i a hit rom qetio o crat proce, materia arteact, medim, traditio ad virtoity a primary, to qetio o itetio, meaig, idea ad iormatio a oremot i importace. Thi broad hit i emphai i evidet iteratioay i the work o artit rom may cotrie icdig Argetia, Atraia, Begim, Brazi, Caada, Itay, Japa, Ria, the netherad, new Zeaad, the uK, ad the uited state, rom the 1960 oward. Whie ome have idetied cocepta art primariy with new York ad north America, ad th with a Egih-peakig ctra cotext, other have worked hard to overcome thi bia by exporig the rich ad ctray divere exampe o coceptaim gobay.13

11

Problems with this answer

Bt oe o the probem with thi awer i that it eem to ioate cocepta art rom a broader et o deveopmet i pot Word-War II ctre, ch a pop art ad miimaim, a we a wider deveopmet i iteratre, poetry, theatre, perormace ad ma media. Part o the probem here i the way i which the academic dicipie o art hitory, epeciay i it poparied orm i goy pbicatio ad teeviio programme, ike to tak o ‘tye’ ad ‘movemet’ ad to achor thee otio by decribig the via appearace o, ad techiqe ed i prodcig arteact ch a paitig ad cptre. Ceary, whe artit begi to prioritie idea ad begi to e idea rom a wide rage o orce – ciece, phioophy, ocioogy, iterary theory, media ad commicatio tdie, cyberetic, ecoogica activim, ad coter ctra poitic or exampe – the od art hitorica covetio o ‘movemet’ ad ‘tye’ potetiay become obtace to etabihig a broad ad rich ee o a wide-ragig re-orietatio o the goba art ytem. (O core aother probem o academic art hitory ca ote be it preoccpatio with beig ‘correct’ ad exact i it e o term, which ca ead to a ot o hair-pittig ad age dacig o the head o pi, o et’ ot oe too mch eep over or rogh awer to the qetio ‘What i cocepta art?’)

12 Oe importat dimeio o cocepta art (which it i difct to addre i a awer ike the oe give above), i it reatiohip with coter-ctra tedecie ad with vario orm o iteratioa ctra poitic ch a emiim, the ati-war movemet, ad vario orm o activim ad diet. A key work o the 1970 ad criticay importat or the deveopmet o emiit ctra practice ad debate i Mary Key’ Post-Partum Document , which i i part a reworkig o cocepta art approache to the exhibitio a ‘ytem’ ad a e o the archive a a medim o dipay (preetig image, diagram, docmet, arteact i a ytematic maer). 14 The exhibitio a ‘ytem’, reer to the e o cyberetic ad ytem thikig i vario cocepta art project ad i the rethikig o the ctio ad roe o exhibitio ad dipay.15 Thi i ot to ay that a cocepta art maieted a coterctra tedecy: thi wa ot the cae.16 Thi i to make a caim or the broadeig eect o cocepta art i term o theme ad method i art makig which eabed (ot caed) the emergece o ew ctra practice ad debate which oregroded qetio o idetity, geder, ad ca. 17

Gilbert & George, SMOKE RISING, 1989. Image:

Conceptual art and the knowledge economy

Aother dimeio o cocepta art, which i ot y addreed i thi deitio, i the ambigo ad compex reatiohip betwee cocepta art ad chage i the cotemporary art market. some commetator ike lippard emphaie cocepta art’ ‘demateriaiatio’ o the art object ad idetiy thi with attempt to reit the commercia ogic o the art market. Other commetator oregrod the roe o cocepta art i rehapig the dyamic o the art market ad the atre o what ca eaiby be boght ad od. seth siegeab, a key new York gaerit ad crator ice the 1960, ha writte: ‘The ecoomic apect o cocepta art i perhap mot iteretig. From the momet whe owerhip o the work did ot give it ower the great advatage o cotro o the work acqired, thi art wa impicated i trig back o the qetio o the vae o it private appropriatio. How ca a coector poe a idea?’

18

O core thi tak o a ew ecoomy o idea ha a amiiar

rig or cotemporary ear, ad ideed ome writer have idetied a coectio betwee ch 1960 radica art idea ad twety-rt-cetry otio o ‘kowedge ecoomy’ ad ‘cogitive capitai m.’ I the 1990, Frech ocioogit arged that there i a reatiohip betwee the kid o creative ad imagiative idea-baed work procaimed by

13

1960 artit ad activit a progreive ad traormative or ociety, ad the kid o ‘exibe’ ‘creative’ ‘idea-geeratig’ ad ‘immateria abor’ procaimed by more recet champio o iormatio capitaim ad ‘exibiiatio’ a ecoomicay progreive ad traormative.19 Thi i a very cotroveria matter, ggetig a it doe that i ome way work that oght to be ociay, poiticay ad ctray progreive i the 1960 ha become take-over a ecoomicay itrmeta thikig by a ew orm o capitaim that eek to expoit ever more totay or creative ad ocia bei g. 20 Other go right back to the 1960 ad idetiy a coectio betwee the ew art idea o coceptaim ad the ew marketig ctre o corporatio. Aexader Aberro ha arged that: ‘The iio o corporate d wa a major eemet i the expaio o the art market drig the mid-1960. […] May i corporate practice […] imagied ew, iovative art a a ymboic ay i the prit o etrepreerhip.’ 21 Thi i jt oe way i which cocepta art cotie a a ive cotrovery or cotemporary art practice ad ctra debate.

Conceptual art now

For ome commetator the rie o cocepta art ha bee othig e tha the betraya o the via art by overy iterary ad ati-via ctra practice.22 For other commetator cocepta art ha geerated the bai o which crret practice proceed ad, or them, it ha etabihed the baic probem ad theme with which artit mt cotie to work. Argaby, cocepta art cotie to be the key backgrod or a mber o importat debate i cotemporary art: the roe o the crator; the ctio ad imit o art itittio (gaerie, mem, exhibitio); art a exempary ecoomy o the ‘demateriaied’; the meaig o ‘pbic’-e i art; the appropriate roe ad imit o mediatio, pbicity ad expicatio i cotemporary art; the icio ad excio that operate i the circit o goba ctre; ad the reatiohip betwee art practice ad kowedge. I the mot impe ad everyday term cocepta art ha give rie to a ew criterio i jdgemet o art. Ecoterig a work o art, itead o the qetio ‘I it beati?’ or ‘I it movig?’ we ow d oreve more ote tha ot, rt akig oreve, ‘I it iteretig?’

14

1

Toy Godrey, Conceptual Art , Phaido, 1998.

2

so leWitt, ‘Paragraph o Cocepta Art’,  Artorum , Je 1967.

3

lcy lippard, Six Years: The Dematerialization o the Art Object rom 1966 to 1972 , uiverity o Caioria Pre, 1997. [Orig. 1973].

4

Hery Fyt, ‘Eay: Cocept Art.’ i  An Anthology o Chance Operations, la Mote Yog ad Mario Zazeea (ed.), 1963. see [http://www.b.com/hitorica/yog/ AAthoogyOChaceOperatio.pd].

5

Robert Barry i Meyer, ‘Coveratio with Robert Barry’, 12 October 1969. see [www. b.com/paper/barry_iterview.htm].

6

see Kritie stie ad Peter sez (ed.), Theories and Documents o Contemporary  Art: A Sourcebook o Artists’ Writings. uiverity o Caioria Pre, 1995, p. 804.

7

saa Hema, Jrrie Poot, ad Hripime Vier (ed.), Conceptual art in the Netherlands and Belgium 1965-1975. Amterdam: nAi Pbiher/stedeijk Mem,

2002, p. 124. 8

15

see [http://www.acommo.org/a/ervet/detaiAMICO~1~1~98226~61526: Compoig-o-a-Cava].

9

see li Camitzer, Jae Farver, ad Rache Wei (ed.), Global Conceptualism: Points o Origin 1950s-1980s, Qee Mem o Art, new York, 1999, p. 59.

10

see lcy lippard.

11

From 1961 to 1969, Harad szeema wa Crator o the Kthae Ber, where i 1968 he amoy gave Chrito ad Jeae-Cade the opportity to wrap the etire mem bidig i a embematic work o t he period. szeema’ importat 1969 exhibitio When Attitudes Become Form , at the Kthae, itrodced Eropea adiece to artit ike Joeph Bey, Eva Hee, Richard serra ad lawrece Weier. It i ote cited a a key momet i the emergece o the moder gre o the ‘crator’ a ideed ha szeema’ practice i geera. see Ha-Joachim Mer, Harad szeema: The Exhibition Maker , Hatje Catz, 2006. Documenta V took pace i 1972 a the th i the erie o major rvey how o iteratioa art, which bega i 1955. Crated by szeema, it provided a broad repreetatio o Eropea ad north America cocepta art ad parked cotrovery becae o the trog athoria ipt o szeema ito the project. Documenta V ha become a key reerece i debate abot the atre o the crator’ ctio i cotemporary art.

12

lippard’ book prioritie new York ad emphaie the ‘demateriaiatio’ o the artwork. Thi i a matter o  ome cotet ad debate. Jo Bird ad Michae newma have arged: ‘lippard’ term impie a ogic o btractio a the materiaity o the art object i ytematicay redced or redeed, ad the cocept ‘art’ ad the cotext icreaigy carry the brde o meaig. no ige term ca adeqatey decribe the vario orma ad theoretica ivetigatio pred by artit drig thi period.’ see their ‘Itrodctio’ i Rewriting Conceptual Art , Reaktio, 1999, p. 4. see ao Michae Corri’ ‘A Iviibe Coege i a Ago-America Word’, the itrodctio to hi edited athoogy o Conceptual Art: Theory, Myth, and Practice, Cambridge uiverity Pre, 2004. Corri cite Art & lagage’ diparagig perpective o thi poitio, whereby they aerted that ‘mot o the ‘demateriaiatio’ o the time were abrd reicatio o dicrivity, perecty ormed or co-optio’ (p. 1).

Liam Gillick, Literally Based on H.Z., (detail), Kerlin Gallery, Dublin, 2006. Image:

13

li Camitzer, Jae Farver, ad Rache Wei (ed.), Global Conceptualism: Points o Origin 1950s-1980s. Qee Mem o Art, new York, 1999. Bt thi ha by o

mea become the domiat approach. There i a otabe preerece ti to prioritie eat coat America artit ad their aociate rom Erope i accot o cocepta art. 14

see Mary Key, Post-Partum Document , uiverity o Caioria Pre, 1999. The work wa rt exhibited i 1976 at the Ititte o Cotemporary Art, lodo, where he howed three o the ix ‘Docmet’ rom thi exteded project. The book verio wa rt pbihed i lodo i 1983.

15

Michae Corri ote that: ‘The cocept o a ‘ytem’ which became part o the iga raca o the 1960, wa ot detied to remai the excive property o a techoogicay mided eite o egieer, cietit, ad mathematicia. I the had o iteecta, artit, ad poitica activit, it wod become a eetia ideoogica compet o the ‘ctra revotio’. Conceptual Art: Theory, Myth, and  Practice, Cambridge uiverity Pre, 2004, p. 189. For a oie verio ee [http://

www.metamte.org/e/sytem-upgrade-Cocepta-Art-ad-the-Recodig-o-Ior matio-Kowedge-ad-Techoogy]. 16

Ideed, Gregory Battcock pecicay critiqed a importat new York how o cocepta art, ‘Iormatio’ at the Mem o Moder Art i 1 970, preciey becae

16

it acked poitica vitaity. see Gregory Battcock , ‘Iormative Exhibitio at the Mem o Moder Art’,  Arts Magazine, Vo. 44, no. 8, 1970, p. 27. 17

Adria Piper’ trajectory i iteretig i thi regard. see her Out o Order. Out o Sight. Vol. 1: Selected Writings in Meta-Art: 1968-1992, Cambridge, MA: The MIT Pre, 1996.

18

seth siegeab, i Michae Cara ad seth siegeab, “l’art cocepta,” Xxe iece, 41 (December 1973) reprited i Conceptual Art: A Critical Anthology, (ed.), Aexader Aberro ad Bake stimo (ed.), Cambridge, MA: The MIT Pre, 1999, p.289. (Cited ao i Aexader Aberro, Conceptual Art and the Politics o Publicity , Cambridge, MA: The MIT Pre, 2003, p. 1.)

19

see lc Botaki, Eve Chiapeo, ad Gregory Eiott, The New Spirit o Capitalism, Vero, 2006. [Orig. ] Whie Botaki et a., do ot  pecicay cite ‘cocepta art’, they reer to a broader ‘artitic critiqe’ which correate trogy with key theme i coceptaim ad with the ctra diet aociated with ‘1968’. They ak: ‘Mt we ot ak […] i the orm o capitaim which have deveoped over the at thirty year, whie icorporatig whoe ectio o the artitic critiqe ad bordiatig it to prot-makig, have ot emptied the demad or iberatio ad atheticity o what gave them btace…?’.

20

Victor Brgi’ proocemet rom 1988 i reveaig here: ‘The origia cocepta art i a aied avat-garde. Hitoria wi ot be rpried to d, amog the ri o it topia program, the deire to reit commodicatio ad aimiatio to a hitory o tye’. see Victor Brgi, ‘Ye Dierece Agai...’ i A. Aberro & B.stimo (ed.), Conceptual Art: A Critical Anthology, Cambridge, MA: The MIT Pre, 1999, p. 429.

21

Aexader Aberro, Conceptual Art and the Politics o Publicity , Cambridge, MA: The MIT Pre, 2003, p. 13.

22

For a etertaiig read i thi vei ee Tom Woe, The Painted Word , Farrar, stra ad Girox, 1975.

Mick Wilson

Mick Wilson is an artist, writer and educator and a graduate of the National College of Art and Design (NCAD) and Trinity College Dublin. He is currently Dean of the Graduate School of Creative Arts and Media (GradCAM). He was previously Head of Fine Art at Dublin Institute of Technology and prior to that Head of Research at NCAD (2005-2007). Before this he was Director of MAVis and the BA visual arts practice programmes at IADT (1998-2004) and an associate lecturer at NCAD, CCAD, IADT and TCD (1991-1998). He has exhibited artwork in Ireland, Europe and the United States.

17

Joseph Kosuth, Three Titled Meanings (A.A.I.A.I), 1967. Image:

Conceptual Art: Further Reading

Aexader Aberro, Conceptual Art and the Politics o Publicity, Cambridge, MA: The MIT Pre, 2003. Aexader Aberro ad Bake stimo (ed.), Conceptual Art: A Critical Anthology, Cambridge, MA: The MIT Pre, 1999. Gregory Battcock (ed.), Idea Art: A Critical Anthology, new York: E. P. Dtto, 1973. Michae Corri, Conceptual Art: Theory, Myth, and Practice, Cambridge uiverity Pre, 2004. li Camitzer, Jae Farver, ad Rache Wei (ed.) , Global Conceptualism: Points o Origin 1950s-1980s, Qee Mem o Art, new York, 1999. Frace Copitt, Knowledge: Aspects o Conceptual Art , seatte, WA: uiverity o Wahigto Pre, 1992. Toy Godrey, Conceptual Art , Phaido Pre, 1998. Peter Godie ad Eiabeth scheeke (ed.), Philosophy and Conceptual Art , Caredo Pre Goterhire, 2007. Ka Hoe, Concept Art , Cooge: Phaido, 1971. liz Kotz, Words to be Looked At: Language in 1960 Art , Cambridge, MA: The MIT Pre, 2007. lcy lippard, Six Years: The Dematerialization o the Art Object rom 1966 to 1972 , Berkeey: uiverity o Caioria Pre, 1997. Daie Marzoa, Conceptual Art , Cooge: Tache, 2005.

20

ura Meyer, Conceptual Art , new York: E.P. Dtto, 1972. Robert C. Morga, Between Modernism and Conceptual Art: A Critical Response, Jeero, nC: McFarad & Co., 1997. Catherie Moeey, Conception: Conceptual Documents 1968 to 1972 , Birmigham: ARTice Pre, 2002. Michae newma ad Jo Bird (ed.), Rewriting Conceptual Art , lodo: Reaktio, 1999. Peter Obore, Conceptual Art , Phaido Pre, 2002. Ae Rorimer, New Art in the 60s and 70s: Redefning Reality, Thame & Hdo, 2004. Pa Wood (ed.), Now they are. Texts o Paul Wood and Art & Language, Bre: Editio labor et Gaerie Iy Brachot, 1992.

Conceptual Art: Glossary

ART MuseuM

CRiTiCAl TheoRy

duChAMp, MARCel

A vee or the coectio,

A rage o theorie, draw

(1887 - 1968)

preervatio, tdy, iter-

maiy rom the ocia

Frech avat-garde artit

pretatio ad dipay o

ciece ad hmaitie,

aociated with Dada ad

igicat ctra object

ad aociated with the

srreaim, whoe radica

ad artwork.

Frakrt schoo, which

idea ad practice, mot

adopt a critica approach

otaby hi Readymade,

CoMModiTy

to dertadig ociety

have had a igicat i-

A prodct or artice o trade

ad ctre.

ece o twetieth-cetry

which i marketed or a

art ad Cocepta Art i

commercia exchage o

CRiTiC

eqa vae, ad broady

A pero who pae

reer to arteact or object-baed art orm.

 jdgemet, appraia or

FilM

aayi o vario apect

The medim ed or the

o the art.

creatio o ti or movig image. The term i ao

ConCepTuAl ART

21

particar.

Origiatig i the 1960,

CuRAToR

ed to decribe a motio

Cocepta Art phed

A pero who make

pictre which i a eqece

art practice beyod the

deciio with regard to

o image projected oto a

covetioa imit o

the eectio, acqiitio,

cree, coectivey reerred

the art object, pacig a

dipay ad torage o

to a ciema. I Cotempo-

emphai o the idea or

artwork. A crator may

rary Art, m i reerred to

cocept rather tha a ta-

be idepedet or ree-

a a art orm.

gibe art object. The idea

ace, or may be afiated

ad methodoogie

to a mem or gaery.

Fluxus

o Cocepta Art iorm

The crator o Cotem-

A iteratioa, avat-

mch cotemporary art

porary Art i cocered

garde, art movemet i the

practice.

with dipay, reearch ad

1960, which witeed art-

preervatio bt i ao

it, writer, mmaker ad

ConsTRuCTivisM

itereted i experimeta-

micia creatig experi-

A abtract art movemet

tio ad iovatio.

meta, mti-media work i

oded by Vadimir Tati

m, video ad perormace

ad Aexader Rodcheko

dAdA

iormed by ocia ad

i Ria arod 1915, which

A ati-etabihmet ad

poitica activim.

embraced deveopmet

ati-war art movemet

i moder techoogy ad

oded i 1916 which ed

Found objeCTs

idtriaiatio.

abtractio, oee text

The re-e o object,

ad abrd perormace

either maactred or

ConTeMpoRARy ART

to protet agait the ocia

occrrig i atre, which

Reer to crret ad very

ad poitica coditio

are ot deiged or artitic

recet art practice. Attrib-

prevaiig i Erope drig

prpoe, ad are kept or

ted to the period rom

Word War I. Aociated

their iheret qaitie.

the 1970 to the preet,

with the work o Trita

Ote exhibited i radom

it ao reer to work o

Tzara, Ha Arp ad Marce

art made by ivig artit.

Dchamp.

ew meaig.

drive by both theory ad

doCuMenTATion

GAlleRy

idea, ad i ao charac-

The proce o makig

A itera pace or erie

teried by a brrig o the

record with the e o

o pace dedicated to the

ditictio betwee art ad

photography, m, video,

exhibitio o artwork.

other categorie o ctra

adio or text to idetiy

experiece, ch a teevi-

or report acta detai.

 jxtapoitio to create

Cotemporary Art ca be

insTAllATion

io, ciema, ma media,

A art work made or a

etertaimet ad digita

pecic ite or ocatio

techoogy.

which egage with it cotext ad adiece.

insTiTuTionAl CRiTique

the ideoogy ad dicore

new MediA

A ytematic iterroga-

o Abtract Expreioim.

A rage o materia ad

tio o the workig o the

techoogie deveoped re-

art itittio, throgh art

ModeRn

ativey recety ad tiied

practice ad dicore,

Geeray reer to the pre-

i the creatio, preetatio

which expoe ad cha-

et or the cotemporary,

ad diemiatio o new

ege amed ormaitie,

it i aociated with the

Media Art.

ch a the atoomy ad

period o Moderim rom

etraity o the mem or

the ate ieteeth cetry

new MediA ART

gaery pace. Aociated

to the mid-twetieth

Artwork created ig ew

with both Miimaim ad

cetry. Moder ca ao be

media, ch a m, video,

Cocepta Art, ad with

ed to decribe the period

e-baed media, digita

artit ch a Ha Haacke,

ice the Eightmet i the

techoogy, hypertext,

Adrea Fraer, Marce

eveteeth cetry or the

cyberpace, adio techo-

Broodthaer ad Daie

Reaiace i the teeth

ogy, CD-ROM, webcam,

Bre.

cetry.

rveiace techoogy, wiree teephoe, GPs ytem, compter

lAnGuAGe

22

The e o verba ad writ-

ModeRn ART

ad video game ad

te text a a medim i

Reer to art theory ad

biotechoogy.

Cocepta Art.

practice rom the 1860 to the ate 1960 ad i

pAinTinG

lAnd ART

deed i term o a iear

The appicatio o a pig-

A us art movemet rom

progreio o tye, peri-

met or coor to a race

the 1960 which emerged

od ad choo, ch a

ch a cava, paper or

ot o evirometa ad

Impreioim, Cbim ad

pater. It wa the domiat

ecoogica cocer, ad

Abtract Expreioim.

artitic medim or pictora

the perceived imitatio o

repreetatio ti the

the covetioa art object

MediA

or cptre to repod to

I geera age, media

thee cocer. Artwork

reer to orm o comm-

pARTiCipAToRy ART

were created withi the

icatio, ch a ewpa-

Pace the emphai o

adcape ote ig the

per, magazie, teeviio,

the ipt ad active recep-

materia o the adcape.

radio ad the Iteret. I

tio o the adiece or

the art, media, the pra

the phyica or cocepta

linGuisTiCs

o medim, reer to the

reaiatio o the work.

The cietic tdy o a-

materia, methodoogie,

gage methodoogie, ch

mechaim, techoogie

peRFoRMAnCe ART

a grammatica trctre,

or device by which a

Ivove a artit dertak-

perceptio, meaig, the

artwork i reaied. Tradi-

ig a actio or actio

actio ad od o peech,

tioa or od media icde

where the artit’ body i

ad how thee method

paitig, cptre ad

the medim. Perormace

are acqired.

drawig ad the pecic

art evoved i the ate 1950

materia ed, ch a

ad i coey aociated

MiniMAlisM

pait, charcoa or marbe,

with Video Art a thi

A abtract art movemet

ca ao be reerred to a

wa the primary mea o

deveoped i the us i the

media. I Cotemporary

recordig thi ephemera

1960 which emphaied

Art practice media artit

art orm.

the e o impe, geo-

e a wide rage o media,

metric orm ad moder

ch a techoogy, od

materia draw rom id-

materia, the body, od,

try. It wa a exteio o

etc.

abtractio ocig o the propertie o the materia ed bt ao a rejectio o

twetieth cetry.

phoToGRAphy

sCulpTuRe

The proce o recordig

A three-dimeioa art

a image, a photograph, o

object which i either

ight-eitive m or, i the

created or cotrcted

cae o digita photography,

by a artit. Icde

via a digita eectroic or

cotrctio, aembage,

magetic memory.

itaatio, od, ew media, etc.

pop ART

A art movemet which

seMioTiCs

deveoped i the uK ad

The tdy o the reatio-

us i the 1950 ad which

hip betwee ig ad

drew o apect o popar

ymbo i via ad writ-

ctre ad etertaimet

te commicatio.

a bject matter. siTe speCiFiC

23

publiC ART

Artwork that i created

Artwork ocated otide

with the itetio o beig

the mem or gaery,

ocated i a pecic ite or

ay ited i a pbic

cotext, wherei remova

pace ad pported by

rom that ite or cotext

pbic dig.

wod chage the meaig o the art work. Ote ao-

ReAdyMAde

ciated with Itaatio Art.

Work o art made rom aembed maactred

TexT bAsed

object that are paced i

Artwork created ig

 jxtapoitio to create ew

writte or prited word

meaig, appied by the

a the materia ad/or

artit’ iterpretatio, iga-

bject matter.

tre ad tite. A term coied by Frech artit, Marce

video ART

Dchamp who recogied

Artwork created ig a

that a object’ ctio

video recordig device.

cod be traormed ito a

Video Art emerged a a

work o art by pacig it i a

art orm i the 1960 ad

dieret cotext.

1970 de to the deveopmet o ew techo-

RelATionAl AesTheTiCs

ogy, ad it i a prevaet

A term coied by the

medim i Cotemporary

Frech crator nichoa

Art practice.

Borriad i hi book o the ame ame pbihed i 1998. He decribe a et o art practice which pace a emphai o the ocia cotext i which the work i created ad/or preeted, ad o the roe o the artit a aciitator, where art i iormatio exchaged betwee the artit ad viewer. He ca exampe o thi practice Reatioa Art.

Conceptual Art: General Resources

The oowig i a eect

Southern Exposure,

ICA

it o reorce. A more

sa Fracico

Ititte o Cotemporary

detaied it ca be od

oex.org/abot.htm

Art, lodo

o IMMA’ webite www.imma.ie

www.ica.org.k Studio Voltaire, lodo

www.tdiovotaire.org

Kunst-Werke Institute or Contemporary Art, Beri

ifrmat wt Vitamin Creative Space,

www.kw-beri.de

Intute

Beijig

Oie ervice providig

www.vitamicreativepace.

Maxxi, Rome

iormatio abot web

com

www.maxxi.parc.beic-

reorce or edcatio

trai.it/egih/meo.htm

ad reearch.

YYZ Artist Outlet, Toroto

www.itte.ac.k

www.yyzartitotet.org

Metropolitan Museum o Art, new York

STOT

Mm a Gar

Patorm providig oie

itrata Mm

ik reatig to Cotempo-

a Gar

rary Art. www.tot.org

www.metmem.org Moderna Museet,

stockhom Art Institute o Chicago

www.moderameet.e

www.artic.ed Artcyclopedia

24

MOMA

Iteret ecycopedia o

Australian Centre or

Mem o Moder Art,

art ad artit.

Contemporary Art, Victoria

new York

www.artcycopedia.com

www.accaoie.org.a

www.moma.org

The Artists

Baltic Centre or Contem-

Mori Art Museum, Japa

Databae o moder

porary Art, Gatehead

www.mori.art.mem/eg

ad cotemporary artit.

www.baticmi.com

www.the-artit.org

Museum o Contemporary Centres Georges

Art, Chicago

Ubu

Pompidou , Pari

www.mcachicago.org

A edcatioa reorce

www.cac-gp.r

or Cocepta ad

Museum o Contemporary

Perormace Art.

Dia Art Foundation,

Art Kiasma, Fiad

www.b.com

new York

www.kiama.

www.diacetre.org Museum o Contemporary

Artt l sac a itat

Drawing Center, new York

Art, lo Agee

www.drawigcetre.org

www.moca.org

Gagosian Gallery, new York

Musee d’Orsay, Pari

www.gaoia.com

www.mee-oray.r

Guggenheim Museum,

Museum o Contemporary

Bibao

Art, sydey

www.gggeheim-bibao.e

www.mca.com.a

Hayward Gallery, lodo

New Museum o Contempo-

www.haywardgaery.org.k

rary Art, new York

16 Beaver, new York

www.16beavergrop.org Cubit, lodo

www.cbittartit.org Minus Space, new York

www.mipace.com Sparwasser HQ, Beri

www.parwaerhq.de

www.ewmem.org

Palais de Tokyo, Pari

ir Mm a

Green On Red Gallery,

www.paaidetokyo.com

Gar

Dbi www.greeoredgaery.

Paula Cooper Gallery,

Butler Gallery, Kikey

new York

www.btergaery.com

www.paa.coopergaery. com

com Hallward Gallery, Dbi

Catalyst Arts Gallery

www.hawardgaery.com

www.cataytart.org.k Reina Soa, Madrid

www.meoreiaoa.e

Highlanes Gallery, Context Gallery, Derry

Drogheda

www.cotextgaery.co.k

www.highae.ie

Modern Art

Craword Municipal Art

Irish Museums Association

www.moma.org

Gallery, Cork

www.irihmem.org

San Francisco Museum o

www.crawordartgaery. Saatchi Gallery, lodo

com

www.aatchi-gaery.co.k

Irih Mem o Moder Art Cross Gallery, Dbi

Serpentine Gallery, lodo

www.imma.ie

www.crogaery.ie

www.erpetiegaery.org

Kerlin Gallery, Dbi Dock Arts Centre,

25

IMMA

Solomon R. Guggenheim

Carrick o shao

Museum, new York

www.thedock.ie

www.gggeheim.org

www.keri.ie Kevin Kavanagh Gallery,

Dbi Douglas Hyde Gallery,

www.kevikavaaghga-

Stedelijk Museum,

Dbi

ery.ie

Amterdam

www.dogahydegaery.

www.tedeijk.

com

Lewis Glucksman Gallery,

Cork Tate Modern, lodo

Draiocht , Dbi

www.tate.org.k

www.draiocht.ie

www.gckma.org Limerick City Gallery o Art

Whitechapel Gallery,

Dublin City Gallery,

lodo

The Hugh Lane

www.whitechape.org

www.hghae.ie

www.imerickcitygaery.ie Model Arts and Niland Gallery, sigo

White Cube, lodo

Farmleigh Gallery, Dbi

www.whitecbe.com

www.armeighgaery.ie

www.modeart.ie Mother’s Tankstation,

Whitney Museum o Ameri-

Fenton Gallery, Cork

Dbi

can Art, new York

www.artiread.et/y-

www.mothertaktatio.

www.whitey.org

tmp/door

com

Witte de With , Rotterdam

Four, Dbi

Pallas Contemporary

www.wdw.

www.ordbi.com

Projects, Dbi

www.paaproject.org Gallery o Photography,

Dbi

Project Arts Centre, Dbi

www.gaeryophotogra-

www.projectartcetre.ie

phy.ie RHA Galway Arts Centre

The Roya Hiberia Acad-

www.gawayartcetre.ie

emy, Dbi www.royahiberiaacademy.com

Rubicon Gallery, Dbi

jra a Magaz

www.rbicogaery.ie

Irish Arts Review

www.irihartreview.com Aterimage

Temple Bar Gallery &

Jora o Media Art ad

Journal o Visual Culture

Studios , Dbi

Ctra Criticim

www.agepb.com/jora

www.tempebargaery.com

www.vw.org/aterimage Modern Painters

Taylor Galleries, Dbi

Art Forum Magazine

www.tayorgaerie.ie

www.artorm.com

www.moderpaiter.co.k On-Curating

ba a Art Far

Art and Research

www.o-cratig.org

www.artadreearch.org.k Art Basel

www.artbae.com

Printed Project Art Monthly

www.viaartit.ie

www.artmothy.co.k Documenta, Kae

www.docmeta.da

Third Text Art Newspaper

www.tad.co.k/jora/

www.theartewpaper.com

tite/09528822.ap

Art Review

The Visual Artists

www.artreview.com

New Sheet

ev+a, limerick

www.eva.ie Freize Art Fair, lodo

26

www.reizeartair.com

www.viaartit.ie Cabinet cultural magazine

www.cabietmagazie.org

www.thevacm.org.k

Istanbul Biennial

www.ikv.org/biea11

Circa Art Magazine

www.recirca.com Contemporary

www.cotemporary-magaManiesta, Eropea Bie-

zie.com

ae o Cotemporary Art www.maieta.org

Critical Inquiry

www.criticaiqiry.chiMoscow Biennale

cago.ed

www.2d.mocowbieae.r

Variant

www.variat.radomtate.

Liverpool Biennial

www.bieia.com/

The Vacuum

Curator: The Museum

www.atamirapre.com Bienal de São Paulo

www.bieaaopao.gobo.

E-fux

com

www.e-x.com/jora

Shanghai Bienniale

Flash Art

www.haghaibieae.com

www.ahartoie.com

Skulptur Projekte Münster

Frieze Art Journal

www.kptr-projekte.de

www.rieze.com

Venice Bienniale

The International Journal o

www.abieae.org

Cultural Policy

www.tad.co.k/jora/ tite/10286632.ap

org

Acknowledgements Pbihed by the Irih Mem o Moder Art, Roya Hopita, Kimaiham Dbi 8, 2009. Te: + 353 1 612 9900 Fax: + 353 1 612 9999 Emai: i[email protected] isbn nmr

IsBn: 978-1-907020-23-0

imag rcg:

imag:

Page 14

Margerite O’Mooy,

Every eort ha bee made

liam Giick, literay Baed

Aitat Crator:

to ackowedge correct

o H.Z., (detai) 2006,

Coectio.

copyright o image where

Te tabe it ad eve

appicabe. Ay error or

prototype/trctre to

Crgt Carac:

omiio are itetioa

be arraged by the er i

Joae Kiey:

ad hod be otied to

ay permtatio. A ee-

Admiitratio

the Irih Mem o Moder

met hod be dipayed

Aitat, Edcatio

Art What I __? erie.

together, Dimeio

ad Commity Programme

lt f trat:

Keri Gaery, Dbi, 2006.

Page 2

Coectio Irih Mem

dg:

Bria O’Doherty, Drawig

o Moder Art, Prchae,

Red ad Grey Deig

or Marce Dchamp, 1967,

2007.

www.redadgreydeig.ie

Peci o paper, 49 x 62 cm,

Tt: What is Conceptual Art?

Mick Wio

variabe, Itaatio view,

Coectio Irih Mem

Page 18 – 19

prt:

o Moder Art, Doatio,

Joeph Koth, Three Tited

Prit library

Joeph Machek, 1991.

Meaig (A.A.I.A.I), 1967,

www.prit-ibrary.com A other text writte ad

Photograph o text o Page 5

pae, 120 x 120 cm (each),

wt tak t: Margerite

lawrece Weier, (...)

Coectio Irih Mem o

O’Mooy, Aitat Crator:

WATER & sAnD + sTICKs &

Moder Art, Prchae, 1997.

Coectio; seam Mc-

sTOnEs (...), 1991,

Joeph Koth © ARs, nY

etr:

Cormack, Aitat Crator:

lagage + the materia

ad DACs, lodo 2009.

lia Mora, Crator:

Coectio; Joae Kiey,

reerred to, Dimeio

Edcatio ad Commity

Admiitrator: Edcatio

variabe, Coectio Irih

Programme ad sophie

ad Commity; Moica

Mem o Moder Art,

Byre, Aitat Crator:

Cia, Pbic Aair;

Prchae, 1991.

Tak & lectre

Chritia Keedy, Head o

edited by sophie Byre ad lia Mora

Coectio; Rachae Thom-

Page 6

C tr:

a, Head o Exhibitio;

Michae Craig-Marti,

sophie nei

Hee O’Dooghe, Head o

O the Tabe, 1970,

Edcatio ad Commity

Wood, meta, water, rope

wat i __? Tam:

Programme ad Eriqe

122 cm qare, Height vari-

lia Mora,

Jcoa, Director, IMMA.

abe, Coectio Irih

Crator: Edcatio

Mem o Moder Art,

ad Commity

Text © Irih Mem

Programme

o Moder Art ad Athor 2009

sophie Byre,

Prchae, 2004. Page 12 Gibert & George, sMOKE

Aitat Crator:

Image © Irih Mem

RIsInG, 1989, Mix media

Tak & lectre

o Moder Art ad

338x 568 cm, Coectio

Artit 2009

Irih Mem o Moder

Mark Magire,

Art, Prchae, 1993.

Aitat Crator:

A right reerved. no part

Edcatio ad

o thi pbicatio may be

Commity

reprodced, tored i a

Programme

retrieva ytem or tramitted i ay orm or by ay

Rarc:

mea, eectroic, mechai-

Mariaa sabea

ca, photocopyig, record-

Rebecca Devaey

ig or otherwie, withot the writte permiio o the Pbiher.

© Cortey the artit

What is Series 1 ?

D M R   u  i   o   b   l   y  l   i   a   i   t   l  n   a  r  H  8   y  o   ,  s  R   p  I  o   i  r   a   t   e   d   a   l   ,  l   a   , n  K  d   i   l  m   a   i  n  h   a  m   ,

 E  F  T  .  .  .

 i   0   0  n   0   0  f   o   3   3   @   5  5  i   3   3  m  1 m  1  a   .  6   6  1  i  1  e  2  2   9   9   9   9   9   0   9   0 

 w  w  w  .  i  m  m   a   .  i   e 

In the most simple and everyday terms conceptual art has given rise to a new  criterion in judgements on art. Encountering a work of art, instead of the question ‘Is it beautiful?’ or ‘Is it moving?’ we now nd ourselves more often than not, rst asking ourselves, ‘Is it interesting?’  Mick Wilson

wat  Ccta Art? i the ecod i a erie o tak which aim to provide

a geera itrodctio to key cocept ad theme i Cotemporary Art. What  is Conceptual Art provide a brie overview o Cocepta Art, both a a i-

etia movemet, ad a a ramework or creatig ad dertadig art. Thi i accompaied by a eay by Mick Wilson, tited What is Conceptual Art?