Robtwilliamsstudio.com Website Review

Sept 29, 2018 - June 2, 2019 Auto-Didactic: The Juxtapoz School In the 1960s conceptual art moved onto the international art stage like a bright beacon of joyous intellectual discovery. Finally, with this development, all that could be surveyed could now be declared art. The shackles of formalism were thrown off. This democratic epiphany came with a forty year-old provenance, Dadaism. Specifically, Marcel Duchamp's ready-mades. The artist had been quoted to have said, One day artists can merely point to an object and declare it art. It took four decades for this prophecy to be realized. To many of us, conceptualism first came in the form of pop art. It seemed still to be another facet of avant-gardism at the time, much like By the 1970s and 1980s conceptual art, with its little sister, minimal art, had become philosophical institutions that dominated the art playing field and, in many respects, became absolute. Ironically, the term absolute is antithetical to conceptualism in that the To begin with, conceptualism relies on the premise that the actual existence of a piece of art is a bygone formality. Art, and the desires of the artist, are brought together into a verbal, or literary, presentation (incidentally, a presentation that has come to be called art speak). The poetry of this descriptive of the artist's intentions eclipses all other traditional points of artistic However, dispensing entirely with the physical art is not required to be irrevocable. Some props are a great aid in demonstrating the thrust of the cerebral testimony. These aids can take the form of installations, as*emblages, and sometimes performances, but all are accompanied by written explanation. A number of noted artists such as Lawrence Weiner, Bruce Naumen, Joseph Kosuth, Sol LeWitt, Edward Within the realm of mental concept, how protracted and transverse can the imagination wander? The practical limits of the imagination are The world functions objectively, the artist egresses subjectively— the rational and irrational. The subjective departure for Lewis