Introduction
Highlights of Thirty-Five Years
The 1970s
Figuration and Its Meaning
Conceptual Art and Its Affinities
The 1990s
Diebenkorn and Cage

Conceptual Art and Its Affinities (Room 4 of 6)

Stimulated by conversations with Sol LeWitt, Kathan Brown came to view conceptual art as one of the most important movements in contemporary art. In conceptual art, the idea for an artwork, which may be presented by verbal or visual means, takes precedence over the creation of the object itself. To Brown this rejection of the notion of works of art as precious objects was akin to the traditional understanding of printmaking as a democratic, multiple original art form available to a wide audience.

Since 1974 Brown's collaboration with artist Tom Marioni has reinforced her commitment to conceptual, performance, and installation art, as seen here. Prints by Vito Acconci, Hans Haacke, and Chris Burden are sociopolitical, while those of Marioni examine the measurement possibilities of the human body.

Hamish Fulton, Jannis Kounellis, and Tim Rollins + K.O.S. allude to the interaction of artist and environment, while Sherrie Levine appropriates and translates images over time and across media. Anish Kapoor and José Maria Sicilia, who use color symbolically, do not work conceptually, but their investigations into the nature of materials are influenced by conceptual art. The radically nontraditional ideas with which these artists approach etching -- one of the oldest and most traditional printmaking processes -- mark a distinctive achievement of Crown Point Press.


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