Conceptual Artists

"Ilya and Emilia Kabakov have been collaborating since 1989, 3 years before their marriage in 1992. Ilya was born in 1933 and spent years working as an artist prior to meeting Emilia, but the couple’s meeting sparked the installation practice that defined their aesthetic trajectory."

"The cybernetic art team >bcd< believes that the cybernetic art environment, initially involved with pattern recognition and artificial intelligence research in art and science, can make an important contribution t intersubjective communication and to the sharing of insight between people. The cybernetic sculpture Instantaneous, which was presented for the first time during the Rome colloquium, illustrates the existence of instantaneous communication on a truly parallel architecture based on 16 Compaq Deskpro 386 computers. It also signifies a true parallel processing mode (as experienced in extrasensory perception) in which 'time sequence', 'before' or 'after' hardly have meaning. The cybernetic sculpture instantaneous is seen as a contribution to a new communication medium between artists working interactively within the same system. This is a step towards intersubjective communication, through the process of reflection between artists and a transcendental Galois field."

"For me the art world is like a huge river, which began somewhere in the past and keeps flowing towards the future."

"I am really interested in the different ways that language functions... When language begins to break down a little bit, it becomes exciting and communicates in nearly the simplest way that it can function: you are forced to be aware of the sounds and the poetic parts of words. If you deal only with what is known, you’ll have redundancy; on the other hand, if you deal only with the unknown, you cannot communicate at all. There is always some combination of the two, and it is how they touch each other that makes communication interesting."

"Art originating in the countercultural tradition - a tradition which became epoch-making - introduced some new specific values into the cultural fabric, values to which the creative activity of Jacek Tylicki refers closely. Through his art, Tylicki lays a stress upon personal experience bearing witness to artistic truth; he searches on his own account for an authenticity and a fullness of existence in its relation to Nature, to other human beings, as well as to himself; and maintains a critical suspiciousness towards the ethical and political models of Western society."

"The art here does not exist to define conversations or generate dogma, it is here to open up conversations."

"For my generation, Judd posed the same problem as Picasso did for the Abstract Expressionists; you either had to go over, under, around, or through him. Conceptual, process, and Earth Art, each in their own way, constituted a rejection of the ‘specific object'."

"The world is full of objects, more or less interesting; I do not wish to add any more."

"Give If You Can - Take If You Have To."

"For a chicken the most beautiful is chicken."

"In Bochner’s work, perception constantly trumps idea, reaffirming the artist’s belief that the sensuous is an essential element in even the most conceptual art."

"... Museums are managers of consciousness. They give us an interpretation of history, of how to view the world and locate ourselves in it. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negative terms, they are propaganda machines. They're both. This is something usually not acknowledged and there's probably a good reason why: because if this were in one's consciousness, then one would be a bit more immune to brainwashing — assuming brainwashing is the intent."

"Every place radically imbues (formally, architecturally, sociologically, politically) with its meaning the object (work creation) shown there. Art in general refuses to be implied a priori and so pretends to ignore or reject the draconian role imposed by the museum (the gallery), a role both cultural and architectural. To reveal this limit (this role), the object presented and its place of display must dialectically imply one another"

"When we say architecture, we include the social, political and économie context. Architecture of any sort is in fact the inévitable background, support and frame of any work."

"I agree with Rosenberg’s text that says anything is art as soon as it is put in a museum. And that is why artists are such appalling things, since they are responsible for this state of affairs in art."

"More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by , exhibits (artworks) and exposes itself (to critiques)."

"Vertically striped sheets of paper, the bands of which are 8.7 cms wide, alternate white and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.; and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms, the two ends covered with dull white paint. I record that this is my work for the last four years, without any evolution or way out. This is the past: it does not imply either that it will be the same for another ten or fifteen years or that it will change tomorrow. The perspective we are beginning to have, thanks to these past four years, allows a few considerations of the direct and indirect implications for the very conception of art. This apparent break (no research, or any formal evolution for four years) offers a platform that we shall situate at zero level, when the observations both internal (conceptual transformation as regards the action/praxis of a similar form) and external (work/production presented by others) are numerous and rendered all the easier as they are not invested in the various surrounding movements, but are rather derived from their absence."

"Every act is political and, whether one is conscious of it or not, the presentation of one's work is no exception. Any production, any work of art is social, has a political significance. We are obliged to pass over the sociological aspect of the proposition before us due to lack of space and consideration of priority among the questions to be analysed."

"Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society."

"The work of art... in seemingly by-passing all difficulties, attains full freedom, thus in fact nourishing the prevailing ideology. It functions as a security valve for the system, an image of freedom in the midst of general alienation and finally as a bourgeois concept supposedly beyond all criticism, natural, above and beyond all ideology."

"My painting, at the limit, can only signify itself... It is. So much so, and so well, that anyone can make it and claim it... Perhaps the only thing that one can do after having seen a canvas like ours is total revolution."

"Putting a shovel in a gallery or museum signified “this shovel has become art.” And it actually was. The action itself is art, because the artist projects himself in choosing the shovel, and especially in placing it out of context. It is art in the sense that the imprint of a hand in a cave is art, the Mona Lisa is art, a happening is art, etc. It is a problem that touches on the ethics and function of the artist: he assumes the right to have this supra-human calling that allows him to say to others, “everything that I touch with my hand is transformed into art.” The artist imposes his anguish, his vision of the world, and himself on others. The artist emasculates the observer. Maybe he thinks that the latter deserves no better . . . The artist assumes the right to show you what you can see for yourself, what you could obviously see much more clearly without his intervention. I contest this right."

"Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy."

"There's room for saying things in bright shiny colours."

"My idea of painting was that those yellow squares, being put on the wall as delineating a virtual square or rectangle, were involving the wall itself within the piece and, in this sense, compared to what is usually a work of art, a painting, this piece was somehow reversing the usual terms of the esthetic proposition. Usually, you see the painting and you ignore the wall. Here you had the wall coming through the painting — and the painting itself, the painted pieces, become a standpoint to make the wall appear."

"Barry is part of a generation of artists that gave up traditional aesthetic methodologies in order to reappraise the meaning of art... His use of language, along with photography, and experiments with a range of other materials and media helped transform the way we look at and think about art today."

"Barry was one of the first to see that mass and volume in sculpture were not dependent upon visibility... But also, and perhaps more importantly, that language was a necessary component to communicate the idea in conceptual art."

"Nothing seems to me the most potent thing in the world."

"My early work was philosophic, what would be called epistemology, I was convinced I'd dicredited cognition. When somebody says that all statements are false, the obvious problem is that as an assertion it's self-defeating. I had to find a way to frame this insight which was not self-defeating and that's in "Blueprint", the essay entitled "The Flaws Underlying Beliefs." One has to do what Wittgenstein claimed to do in the "Tractatus Logico-Philosophicus," which is to use the ladder and then throw it away. The way I devolved, moved out from, this position of strict cognitive nihilism, was with the idea of building a new culture which would depart profoundly from the scientific culture in which we live."

"Basically, at this time, I viewed any work of art as an imposition of another persons taste and saw the individual making this imposition as a kind of dictator."

"Most artists are doing basically the same thing — staying off the streets."

"I try to deal with things that maybe other people haven't thought about, emptiness, making a painting that isn't a painting. For years people have been concerned with what goes on inside the frame. Well maybe there is something going on outside the frame that could be considered an artistic idea."

"Works of art are analytic propositions. That is, if viewed within their context – as art – they provide no information whatsoever about any matter of fact. A work of art is a tautology in that it is a presentation of the artist’s intention, that is, he is saying that that particular work of art is art, which means, is a definition of art."

"Concept art is first of all an art of which the material is concepts, as the material of e.g. music is sound. Since concepts are closely bound up with language, concept art is a kind of art of which the material is language."

"Concept art was meant to replace all of mathematics with an endeavor which involved a Rorschach-blot semantics; and which did not claim to be cognitive, at least not in the inherited sense. Mathematics had already been disconnected from claims of realism; and I was extending that disavowal to a disconnection from claims of a priori truth. Concept art's value consisted in beauty, a beauty which was non-sentimental. Later I would say that its value consisted in "the invention of new mental abilities." Popularity had nothing to do with whether this avenue was worth taking."

"It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with “beauty” and thus, taste, was inevitably duty bound to discuss art as well. Out of this “habit” grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other “functions” of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art."

"I’m dead serious about being nonsensical."

"Traditional philosophy, almost by definition, has concerned itself with the unsaid. The nearly exclusive focus on the said by twentieth-century analytical linguistic philosophers is the shared contention that the unsaid is unsaid because it is unsayable."

"The 'value' of particular artists after Duchamp can be weighed according to how much they questioned the nature of art."

"I surmise that mathematical knowledge amounts to the crystallization of officially endorsed delusions in an intellectual quicksand"

"Art is the illusion of disorientation, the illusion of liberty, the illusion of presence, the illusion of the sacred, the illusion of Nature. ... Not the painting of Buren, Mosset, Parmentier or Toroni.... Art is a distraction, art is false. Painting begins with Buren, Mosset, Parmentier, Toroni."

"Fundamental to this idea of art (conceptual art) is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction. (note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.)"

"Art before the modern period is as much art as Neanderthal man is man'. It is for this reason that around the same time I replaced the term "work" for art proposition. Because a conceptual work of art in the traditional sense, is a contradiction in terms."

"If one wanted to make a work of art devoid of meaning, it would be impossible because we’ve already given meaning to the work by indicating that it’s a work of art."

"The work process begins when I start selecting quotations from a large collection I already have, given that I use such texts often in my work and have for a long time. In fact, appropriation of this kind––along with other kinds––has been part of my work since the beginning in the ’60s. I go through hundreds of these amassed quotes from my own research and that of my staff, make my choices, and then continually add them in relation to the quotes I already have selected. The surplus meaning that is constructed by using the words of others in conjunction with each other, which is my goal, is a far more delicate operation than it may seem."

"I am not a big fan of meaning. Logic is also another nebulous thought. I attempt to bring threads of subjects, however shaggy, to my work and inject little suggesters to the picture itself, and this often puts a smile on my face."

"Today the term “global” can no longer constitute a serious topic for an in depth intellectual discussion because it simply means “Camerica”."

"Istanbul these days has as much dynamism as New York."

"Ich bin das erste lebende kunst museum."

"Art shouldn’t be only the aesthetics we hang on the wall, but a dynamic to shape the society."