Sol LeWitt gives an extremely influential pair of articles, titled Paragraphs on Conceptual Artwork,” and Sentences on Conceptual Art,” published in 1967 and 1969 respectively. From the first instant that I saw the work of Monet and Renoir in an art galley a long time in the past I was astonished and admired the work so intently that I resolved to create some pictures that will no less than attempt the world of impressionism even though I have to describe myself as much more of an ‘Ansel Adams’ acolyte.
It is different than the idea art which is created only to display an idea whereas the conceptual arts concerns on the precept of the idea after which then objects. If conceptual art yields cognitive worth, that’s to say, it tends to be so trivial that it barely deserves the title.
Six Years: The Dematerialization of the Art Object 1966-1972, New York: Praeger. I feel his idea of what conceptual art stands for could be very intriguing and humble. Now, even if it is granted that art need not be aesthetic, it is still possible to hold that conceptual art does not qualify nearly as good artwork as a result of it doesn’t (intention to) yield aesthetic experiences.
Although Duchamp skilled vandalism and rejection of his work, he still strives to make a press release by his artwork. Conceptual Art, even if divided into intervals, by no means quite supersedes other types or advances art by conspicuous expertise. Perhaps essentially the most pressing query, however, has to do with the extent to which we’re to take conceptual art’s claim of de-materialisation critically.
Collectively, these give the Conceptual work a strikingly totally different standing, quite than material. In conventional terms an object like this cannot be known as artwork, because it was not created by hand with the intention of changing into an artwork merchandise.