In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.
Sol LeWittRelated topics
art aspect concept form free idea intuitive kind planning skill work means usesRelated quotes
Man bears in his bodily structure clear traces of his descent from some lower form; but it may be urged that, as man differs so greatly in his mental power from all other animals, there must be some error in this conclusion. No doubt the difference in this respect is enormous, even if we compare the mind of one of the lowest savages, who has no words to express any number higher than four, and who uses no abstract terms for the commonest objects or affections, with that of the most highly organised ape.
Charles Darwin
He [the artist in general] ought to have 'these powerful organs of expression' - colour and chiaroscuro - entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of.
John Constable
When the great religious and philosophical conceptions were alive, thinking people did not extol humility and brotherly love, justice and humanity because it was realistic to maintain such principles and odd and dangerous to deviate from them, or because these maxims were more in harmony with their supposedly free tastes than others. They held to such ideas because they saw in them elements of truth, because they connected them with the idea of logos, whether in the form of God or of a transcendental mind, or even of nature as an eternal principle.
Max Horkheimer
Women had to work like slaves in the art world, but a lot of men got to the top through their charm. And it hurt them. To be young and pretty didn't help a woman in the art world, because the social scene, and the buying scene, was in the hands of women – women who had money. They wanted male artists who would come alone and be their charming guests. Rothko could be very charming. It was a court. And the artist buffoons came to the court to entertain, to charm. Now it has changed, now the younger men are in – older women and younger men.
Louise Bourgeois
Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
Max Beckmann