Once you think of museums and galleries of great art, it is straightforward to think of Europe. 1969: Robert Barry ‘s Telepathic Piece at Simon Fraser University, Vancouver, of which he said ‘In the course of the exhibition I will try to communicate telepathically a work of art, the character of which is a sequence of ideas that are not relevant to language or image’.
These time consuming and labor demanding installations symbolize artist’s visual commentary of consumerist tradition and mass manufacturing, and show his cautious creative remark of the daylight in nature. 18 Osborne later made the statement that modern artwork is submit-conceptual in a public lecture delivered on the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010.
His works have been characterized as Minimalist, Set up, Land art, Neo-Dada, and Conceptualist. Conceptual art may be – and might seem like – virtually something. For instance artists in the Italian arte povera group used all types of found objects and low-worth materials such as twigs, material and fat, with the goal of challenging and disrupting the values of the commercialised contemporary gallery system.
Particularly during Nineteen Sixties and Nineteen Seventies, conceptual artists centered on language, construction and illustration. In South America, artists found Conceptualism an effective pathway to creativity and political opposition. The principle that united these developments was the rejection of traditional methods of judging artworks, the opposition to artwork being a commodity, and the assumption in the primarily conceptual nature of all artworks.
One other very important intersection was explored in Ascott’s use of the thesaurus in 1963 1 , which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept can be taken up in Joseph Kosuth’s Second Investigation, Proposition 1 (1968) and Mel Ramsden’s Components of an Incomplete Map (1968).