Commentary on Conceptual Art: Chapter 6

“…the authority that declares a war is intimately related to the authority that declares what is art and what is not. Both had power invested in their language.”

Joseph Beuy’s “…was sacked from the Dusseldorf academy in 1972 because he let anyone join his course who applied for it.”

“Education for him should never be an elitist activity…”

I would be curious to see how this would pan out. Having students in the class who truly desire to be there, even if they aren’t necessarily at the ‘level’ that is required (which is informed by standardized testing – a terrible way of testing ones capabilities), it seems they would work that much harder to learn and make it through the course. Also, in terms of the typical standards for college coursework with its prerequisites, the institutional system didn’t know how to handle Beuy’s approach, which works well as far as how culture is experienced in actuality.

“…students of academic art had traditionally copied their masters. Now one could learn or teach by making challenging proposals, or by asking questions.”

I think it’s for this reason that academic art still holds an issue in its interior. Because creative and critical thinking are typically not a major part of education in general, entering the world of collegiate studies, even in art, it is easy to fall into the position of follower and wait for instructions from the professor, who only has their own experience to pull from.

“The publicity…put out soon became as important as the exhibitions themselves.”

The idea of the exhibition, the existence of its representation of work and a space to gather for exchanging ideas in itself becomes an important message.

“The whole context of the commercial gallery was paradoxical for those conceptual artists whose work presented a critique of capitalism and the art world.”

Although this paradox is true, there is a bit of irony in the fact that within the confines of this institution, the work in which it is investing in, is itself a joke about its own context.

Art-Language → magazine

Tom Marioni believed the gallery was a place for “performances and installations, not a repository of objects.”

In other words, a location for the exchanging ideas. Where there are no boundaries to creative thinking and less limits on conversation then in typical social situations.

All content sighted is derived from Conceptual Art by Tony Godfrey

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