196:
631:“This creation of an inaccessible space between Real and Virtual displays the self-positing nature of Virtuality from the void, and a potential arena for reframing the emptiness of the subject. Bolognini’s position 'at the crossroads of conceptual art and generative art' (Bolognini 2012) can be associated with the post-conceptual practice Peter Osborne identifies as 'the fictional presentness of the contemporary' favouring presentation over representation.” G. Benjamin,
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they brought to prominence a new generation of conceptual artists through their copious writings and curatorial activity. It was their exhibitions and writings that originally fashioned the theoretical context for a new kind of neo (or post)
246:
Conceptual art at the end of the 20th
Century spread to become a general tendency, a resonance within art practice that became nearly ubiquitous. Thus the widespread use of the term “post-conceptual” as a prefix to painting such as that of
206:(Nice, France, 1997). This installation uses computer codes to create endless flows of random images which will never be accessible for viewing. Images are continuously generated but they are prevented from becoming a physical artwork.
70:
from 1973 (in which the artist attempted to do just that, photographing the results, and eventually selecting the best out of 36 tries, with 36 being the determining number as that is the standard number of shots on a roll of
343:
on July 9, 2010. Osborne's main thesis is that the convergence and mutual conditioning of historical transformations in the ontology of the artwork and the social relations of art space make contemporary art possible.
888:
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condition for the production of contemporary art in general...." Osborne first noted that contemporary art is post-conceptual in a public lecture delivered at the
Fondazione Antonio Ratti, Villa Sucota in
214:. Subsequently, those theories cast doubt upon the necessity of materiality itself as conceptual artists "de-materialized" the art object and began to produce time-based and
724:
Gaiger, Jason (2004). "Post conceptual painting: Gerhard
Richter's Extended Leave-taking in themes in contemporary art". In Perry, Gillian; Wood, Paul (eds.).
1324:
497:
1207:
Six years: the dematerialization of the art object from 1966 to 1972; a cross-reference book of information on some esthetic boundaries ...
702:
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Conceptual art focused attention on the idea behind the art object and questioned the traditional role of that object as the conveyor of
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1019:. Valencia: Departamento de Escultura, Facultad de Bellas Artes, Universidad Politécnica de Valencia, Servicio de Publicaciones.
772:
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Cybernetics & Human
Knowing A Journal of Second Order Cybernetics, Autopoiesis & Cybersemiotics Joseph Nechvatal
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makes the point that "post-conceptual art is not the name for a particular type of art so much as the historical-
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points out that post-conceptual art is already emerging in the late 1970s and early 1980s in the photo-based
814:
331:
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219:
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730:. New Haven: Yale University Press in association with the Open University. pp. 89–135.
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and material concerns. The term first came into art school parlance through the influence of
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in the early 1970s. The writer
Eldritch Priest, specifically ties John Baldessari's piece
8:
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Effects : Magazine for New Art Theory, Semblance and
Mediation No. 1 (Summer 1983)
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The intangibilities of form : skill and deskilling in art after the readymade
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59:
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Boring formless nonsense : experimental music and the aesthetics of failure
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Effects : Magazine for New Art Theory, Neutral Trends I No. 3, Winter 1986
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703:"One and Three Ideas: Conceptualism Before, During, and After Conceptual Art"
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Post-conceptualism as an art practice has also been connected to the work of
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75:) as an early example of post-conceptual art. It is now often connected to
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Throwing four balls in the air to get a square (best of 36 tries)
47:
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Konzeptuelle Kunst in
Amerika und England zwischen 1963 und 1976
54:(s) involved in the work takes some precedence over traditional
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Between modernism and conceptual art : a critical response
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The idea of post-conceptual art was clearly articulated by
51:
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Between
Modernism and Conceptual Art: A Critical Response
504:
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in the early 1980s in New York City, when within their
1428:
Anywhere or not at all philosophy of contemporary art
1289:
Migliorini, Ermanno (2014). Dal Sasso, Davide (ed.).
805:
Art at the End of the Social : Rooseum catalogue
613:
1486:
New art in the 60s and 70s : redefining reality
883:(Speech). Public Lecture, Fondazione Antonio Ratti.
633:
The Cyborg
Subject. Reality, Consciousness, Parallax
330:British philosopher and theorist of conceptual art
773:"ART; Now on View, New Work by Freelance Curators"
238:, has resulted in the post-conceptual art object.
1142:
1016:Arte conceptual revisado/Conceptual art revisited
977:Alberro, Alexander; Stimson, Blake, eds. (1999).
1513:
1074:Conceptual art : theory, myth, and practice
107:from 1997. It has been connected to the work of
914:
758:
596:
584:
569:
1370:Art into ideas : essays on conceptual art
1260:Marzona, Daniel (2005). Grosenick, Uta (ed.).
1143:Goldie, Peter; Schellekens, Elisabeth (2009).
976:
1489:(1st ed.). London: Thames & Hudson.
1338:Conceptual art : an American perspective
915:Alberro, Alexander; Buchmann, Sabeth (2006).
1009:
951:Conceptual art and the politics of publicity
1395:
1323:: CS1 maint: location missing publisher (
1288:
1237:(First ed.). New York: E. P. Dutton.
980:Conceptual art : a critical anthology
496:: CS1 maint: location missing publisher (
1396:Newman, Michael; Bird, Jon, eds. (1999).
1373:. Cambridge: Cambridge University Press.
770:
635:, Palgrave Macmillan, London 2016, p. 86.
319:; one that argued simultaneously against
1077:. New York: Cambridge University Press.
1048:(1st ed.). New York: E. P. Dutton.
1041:
194:
190:
1482:
1453:
1424:
1259:
1200:
1113:
1013:; Cortés, José Miguel G., eds. (1990).
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877:Contemporary art is post-conceptual art
873:
861:
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557:
529:. Jefferson, N.C.: McFarland & Co.
510:
426:
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179:concept employed in the mid-sixties by
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648:Post Conceptual Art Practice -Part Two
522:
461:
230:– and that malleability, coupled with
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1045:Idea art : a critical anthology
103:in 1976, and in Morgan's writing in
1295:(Nuova edizione ed.). Milano.
1149:(1st ed.). London: Routledge.
220:dematerialization of the art object
13:
908:
691:
86:
14:
1543:
312:Collins & Milazzo Exhibitions
1109:. Frankfurt am Main: Peter Lang.
251:and photography such as that of
64:California Institute of the Arts
1146:Who's afraid of conceptual art?
954:. Cambridge, Mass.: MIT Press.
867:
830:
819:
808:
797:
764:
717:
638:
625:
433:. London: Phaidon. p. 28.
38:that builds upon the legacy of
1402:. London, UK: Reaktion Books.
1341:. Jefferson, N.C.: McFarland.
874:Osborne, Peter (9 July 2010).
701:Smith, Terry (November 2011).
602:
516:
455:
420:
1:
1071:Corris, Michael, ed. (2004).
837:Cameron, Dan (October 1999).
771:Alexander, Max (1989-02-19).
921:. Cambridge, Massachusetts:
7:
1231:Meyer, Ursula, ed. (1972).
948:Alberro, Alexander (2003).
645:Pryor, Angus (2012-01-01).
347:
10:
1548:
1522:Contemporary art movements
1042:Battcock, Gregory (1973).
727:Themes in contemporary art
523:Morgan, Robert C. (1997).
462:Priest, Eldritch (2013).
218:artworks. Although total
1399:Rewriting conceptual art
1178:. Köln: Phaidon Verlag.
918:Art after conceptual art
261:Art After Conceptual Art
1431:. London: Verso Books.
1425:Osborne, Peter (2013).
1100:Dreher, Thomas (1991).
839:"Collins & Milazzo"
468:. New York. p. 5.
427:Osborne, Peter (2002).
325:The Pictures Generation
1483:Rorimer, Anne (2004).
1454:Roberts, John (2007).
1210:London: Studio Vista.
1172:Honnef, Klaus (1971).
1114:Godfrey, Tony (1998).
207:
198:
191:As specific condition
1011:Aliaga, Juan Vicente
983:. Cambridge, Mass.:
759:AlberroBuchmann 2006
597:AlberroBuchmann 2006
585:AlberroBuchmann 2006
570:AlberroBuchmann 2006
415:Notes and references
242:As general condition
222:never occurred, the
1120:. London: Phaidon.
236:computer processing
95:, specifically his
864:, p. 3&5.
777:The New York Times
651:. Grant F. Pooke.
513:, p. 125–131.
374:Neo-conceptual art
226:became flexible –
208:
200:Maurizio Bolognini
28:post-conceptualism
1467:978-1-84467-163-2
1460:. London: Verso.
1438:978-1-78168-478-8
1365:Morgan, Robert C.
1333:Morgan, Robert C.
1302:978-88-575-2228-9
1266:. Köln: Taschen.
1156:978-0-415-42282-6
932:978-0-262-51195-7
658:978-0-9559230-8-1
560:, p. 99–116.
475:978-1-4411-2408-1
321:Neo-Expressionism
293:Barbara Rosenthal
265:appropriation art
129:François Morellet
32:postconceptualism
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257:Benjamin Buchloh
204:Sealed Computers
153:Joseph Nechvatal
133:Jennifer Bolande
99:installation at
93:Robert C. Morgan
44:contemporary art
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384:Post-convergent
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308:Richard Milazzo
249:Gerhard Richter
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169:Annette Lemieux
109:Robert Smithson
89:
87:As art practice
60:John Baldessari
20:Post-conceptual
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364:Electronic art
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317:conceptual art
304:Tricia Collins
289:Sherrie Levine
285:Barbara Kruger
253:Andreas Gursky
243:
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157:Allan McCollum
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77:generative art
40:conceptual art
24:postconceptual
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894:on 2016-12-06
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332:Peter Osborne
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298:
297:Dara Birnbaum
294:
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277:Cindy Sherman
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273:Louise Lawler
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269:Martha Rosler
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141:Piero Manzoni
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896:. Retrieved
889:the original
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862:Osborne 2013
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788:. Retrieved
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662:. Retrieved
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620:Osborne 2013
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604:
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558:Osborne 2013
553:
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511:Osborne 2013
506:
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369:Internet art
354:Computer art
329:
301:
260:
245:
209:
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185:Dick Higgins
161:Harold Cohen
121:Robert Barry
104:
97:Turkish Bath
96:
90:
83:production.
67:
46:, where the
31:
27:
23:
19:
18:
1175:Concept art
409:Virtual art
404:Systems art
389:Postdigital
336:ontological
175:, and the
145:Lygia Clark
117:Vera Molnár
113:Mel Bochner
81:digital art
1516:Categories
1447:1200107302
898:2021-04-29
790:2021-04-25
664:2021-04-29
281:Peter Nagy
224:art object
177:intermedia
165:Mary Kelly
149:Roy Ascott
137:Yves Klein
125:Peter Nagy
36:art theory
16:Art theory
1476:154706791
1319:cite book
1311:902633610
1165:654781097
985:MIT Press
923:MIT Press
785:0362-4331
683:ignored (
673:cite book
492:cite book
484:828736623
359:Cyberarts
232:semiotics
228:malleable
216:ephemeral
73:35mm film
56:aesthetic
1505:63665444
1418:50661369
1389:32625348
1367:(1996).
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