Opening the book…
The Modernists proposed that art could be anything—so why couldn't it be an idea or an action?
c. 1960 - present
- 3.1: Conceptual Art
- 3.1.1: A beginner's guide
- 3.1.1.1: Conceptual Art, An Introduction
- 3.1.1.2: The Case for Conceptual Art
- 3.1.2: Joseph Kosuth, One and Three Chairs
- 3.1.3: Martha Rosler, The Bowery in Two Inadequate Descriptive Systems
- 3.1.4: The Case for Yoko Ono
- 3.1.5: John Baldessari, I Will Not Make Any More Boring Art
- 3.1.6: Hans Haacke, Seurat’s “Les Poseuses” (small version), 1884-1975
- 3.1.7: Nam June Paik, Electronic Superhighway- Continental U.S., Alaska, Hawaii
- 3.1.8: Yayoi Kusama
- 3.1.8.1: Narcissus Garden
- 3.1.8.2: Yayoi Kusama (Tate)
- 3.1.9: Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths
- 3.1.10: Mónica Mayer, The Clothesline
- 3.2: Performance Art
- 3.2.1: Performance Art, an Introduction
- 3.2.2: The Case for Performance Art
- 3.2.3: Black Mountain College
- 3.2.4: Shiraga Kazuo, Challenging Mud
- 3.2.5: Vito Acconci, Following Piece
- 3.2.6: Mierle Laderman Ukeles, Washing/Tracks/Maintenance- Outside (July 23, 1973)
- 3.2.7: Gordon Matta-Clark, Splitting
- 3.2.8: Marina Abramović, The Artist is Present
This page titled 3: Conceptual + Performance Art was last modified on Fri, 24 Feb 2023 23:23:24 GMT and is shared under a CC BY-NC-SA 4.0 license and was authored, remixed, and/or curated by Smarthistory.
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