In the era of the 1960s and 1970s, the conceptual artists started working as an Abstract Expressionists. The movement of conceptual art honors new thoughts of artwork. The shift from Fluxus and Minimalism to Conceptualism was observed in this era. It was a very different concept that rejected all the previous old ideas of art and architecture. They considered the expression of an artist's idea enough to construct an art piece by maintaining standards of art that are skills, aesthetics, and marketability. The conceptual artwork is a succession of the movement known as avant-garde. The paintings of Jackson Pollock, “drip” and “Brillo Boxes” by Andy Warhol in 1964 were much opposed at that time. A great masterpiece created by an artist, Joseph Kosuth was “One and Three Chairs” in 1965 that left people amazed. Allan Kaprow, George Maciunas, and John Cage are the artists who started Fluxus. Carl Andre, Donald Judd, and Robert Morris along with some other modest artists focused on fabrication, industrial, and formal artwork. Jade focused on nontraditional stuff much like steel and bricks. Declaration of Intent in 1968 by Lawrence Weiner was very much appreciated. Sol LeWitt artist of “modular cube” wrote Paragraphs on Conceptual Art in which he considered concept first as compared to the object that opposed the theories of Clement Greenburg and Michael Fried. Claes Oldenburg's masterpieces were showcased in “The store” in 1962 that had a great sculpture of cheeseburgers with everything. In such a competitive era the artists who were considered as conceptual worked on photography, language, represented means like numbers, time, and maps. The conceptual artwork rejected the static paintings that were framed and spatially sculptures that were detached. The work of conceptual artists redefined the concepts of artwork that was greatly accepted worldwide by art lovers.
Works Cited
Harris, J. (2006). Art history: the key concepts. Abingdon: Routledge.
