Editing Conceptual art (section)

==Notable examples==
[[Image:Give-if-you-can.jpg|thumb|260px|[[Jacek Tylicki]], Stone sculpture, ''Give If You Can – Take If You Have To''. Palolem Island, [[India]], 2008]]
[[Image:Barbara Kruger at ACCA, Melbourne.jpg|thumb|260px|[[Barbara Kruger]] installation detail at Melbourne]]
* 1913 : ''[[Bicycle Wheel]]'' ''(Roue de bicyclette)'' by [[Marcel Duchamp]]. Assisted readymade. Bicycle wheel mounted by its fork on a painted wooden stool. The first readymade, even though he did not have the idea for readymades until two years later. The original was lost. Also, recognized as the first kinetic sculpture.<ref>Atkins, Robert: ''Artspeak'', 1990, Abbeville Press, {{ISBN|1-55859-010-2}}</ref> 
* 1914 : ''[[Bottle Rack]]'' (also called ''Bottle Dryer'' or ''Hedgehog'') (''Egouttoir'' or ''Porte-bouteilles'' or ''Hérisson'') by [[Marcel Duchamp]]. Readymade. A galvanized iron bottle drying rack that Duchamp bought as an "already made" sculpture, but it gathered dust in the corner of his Paris studio. Two years later in 1916, in correspondence from New York with his sister, [[Suzanne Duchamp]] in France, he expresses a desire to make it a readymade. Suzanne, looking after his Paris studio, has already disposed of it.
* 1915 : ''[[In Advance of the Broken Arm]]'' ''(En prévision du bras cassé)'' by [[Marcel Duchamp]]. Readymade. [[Snow shovel]] on which Duchamp carefully painted its title. The first piece the artist officially called a "readymade".
* 1916–17 : ''[[Apolinère Enameled]]'', 1916–1917. Rectified readymade. An altered Sapolin paint advertisement.
* 1917 : ''[[Fountain (Duchamp)|Fountain]]'' by [[Marcel Duchamp]], described in an article in ''[[The Independent]]'' as the invention of conceptual art. It is also an early example of an [[Institutional Critique]]<ref>{{cite news |last= Hensher |first= Philip |title= The loo that shook the world: Duchamp, Man Ray, Picabi |url= https://www.independent.co.uk/arts-entertainment/art-and-architecture/features/the-loo-that-shook-the-world-duchamp-man-ray-picabi-784384.html |publisher= [[The Independent]] (Extra) |date= 2008-02-20 |pages= 2–5 |location= London}}</ref>
* 1917 : ''Hat Rack'' ''(Porte-chapeaux)'', {{Circa|1917}}, by [[Marcel Duchamp]]. Readymade. A wooden hatrack.<ref>Judovitz: ''Unpacking Duchamp'', [https://books.google.com/books?id=jW_eUNBun30C&lpg=PA92&pg=PA92 92–94].</ref>
* 1919 : ''[[L.H.O.O.Q.]]'' by [[Marcel Duchamp]]. Rectified readymade. Pencil on a reproduction of Leonardo da Vinci's ''[[Mona Lisa]]'' on which he drew a [[goatee]] and [[moustache]] titled with a coarse pun.<ref>[https://www.marcelduchamp.net/duchamp-artworks] Marcel Duchamp.net, retrieved December 9, 2009</ref>
* 1921 : ''[[Why Not Sneeze, Rose Sélavy?]]'' by [[Marcel Duchamp]]. Assisted readymade. Marble cubes in the shape of sugar lumps with a thermometer and cuttle bones in a small bird cage.
* 1921 : ''[[Belle Haleine, Eau de Voilette]]'' by [[Marcel Duchamp]]. Assisted readymade. An altered perfume bottle in the original box.<ref name="Christie's Paris">[https://www.christies.com/lotfinder/Lot/marcel-duchamp-1887-1968-belle-haleine--5157362-details.aspx Marcel Duchamp, ''Belle haleine – Eau de voilette''], Collection Yves Saint Laurent et Pierre Bergé, Christie's Paris, Lot 37. 23 – 25 February 2009</ref>
* 1952 : The premiere of American [[experimental music|experimental]] composer [[John Cage]]'s work, ''4′33″,'' a three-[[movement (music)|movement]] composition, performed by pianist [[David Tudor]] on August 29, 1952, in [[Maverick Concert Hall]], [[Woodstock, New York]], as part of a recital of contemporary piano music.<ref>Kostelanetz, Richard (2003). Conversing with John Cage. New York: Routledge. {{ISBN|0-415-93792-2}}. pp. 69–71, 86, 105, 198, 218, 231.</ref> It is commonly perceived as "four minutes thirty-three seconds of [[silence]]".
* 1953 : [[Robert Rauschenberg]] produces ''[[Erased De Kooning Drawing]]'', a drawing by [[Willem de Kooning]] which Rauschenberg erased. It raised many questions about the fundamental nature of art, challenging the viewer to consider whether erasing another artist's work could be a creative act, as well as whether the work was only "art" because the famous Rauschenberg had done it.
* 1955 : Rhea Sue Sanders creates her first text pieces of the series ''pièces de complices'', combining visual art with poetry and philosophy, and introducing the concept of complicity: the viewer must accomplish the art in her/his imagination.<ref>Bénédicte Demelas: Des mythes et des réalitées de l'avant-garde française. Presses universitaires de Rennes, 1988</ref>
* 1958: [[George Brecht]] invents the ''Event Score''<ref>Kristine Stiles & Peter Selz, ''Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings'' (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 333</ref> which would become a central feature of Fluxus. Brecht, [[Dick Higgins]], [[Allan Kaprow]], [[Al Hansen]], [[Jackson MacLow]] and others studied with [[John Cage]] between 1958 and 1959 at the [[New School]] leading directly to the creation of [[Happenings]], [[Fluxus]] and [[Henry Flynt]]'s concept art. ''Event Scores'' are simple instructions to complete everyday tasks which can be performed publicly, privately, or not at all.
* 1958: [[Wolf Vostell]] ''Das Theater ist auf der Straße''/''The theater is on the street''. The first [[Happening]] in Europe.<ref>{{cite web|url= http://www.museum-morsbroich.de/index.php?id=vorschau&no_cache=1&tx_mbausstellungen_pi1%5Bexhibition%5D=40&ftu=17c0865f7589ebcedf2cba1501860715|title= Vorschau – Museum Morsbroich|author= ChewingTheSun}}</ref>
* 1961: [[Piero Manzoni]] exhibited ''[[Artist's Shit]]'', tins purportedly containing his own [[feces]] (although since the work would be destroyed if opened, no one has been able to say for sure). He put the tins on sale for their own weight in gold. He also sold his own breath (enclosed in balloons) as [[Corpo d'aria|''Bodies of Air'']], and signed people's bodies, thus declaring them to be living works of art either for all time or for specified periods. (This depended on how much they are prepared to pay). [[Marcel Broodthaers]] and [[Primo Levi]] are amongst the designated "artworks".
* 1962: Artist Barrie Bates rebrands himself as [[Billy Apple]], erasing his original identity to continue his exploration of everyday life and commerce as art. By this stage, many of his works are fabricated by third parties.<ref name="Byrt">{{cite web|last= Byrt|first= Anthony|title= Brand, new|url= http://www.frieze.com/issue/article/brand-new/|work= Frieze Magazine|access-date= 28 November 2012|archive-date= 2 November 2012|archive-url= https://web.archive.org/web/20121102012024/http://www.frieze.com/issue/article/brand-new/|url-status= dead}}</ref>
* 1962: [[Yves Klein]] presents [[Zone de Sensibilité Picturale Immatérielle|''Immaterial Pictorial Sensitivity'']] in various ceremonies on the banks of the Seine. He offers to sell his own "pictorial sensitivity" (whatever that was – he did not define it) in exchange for gold leaf. In these ceremonies the purchaser gave Klein the gold leaf in return for a certificate. Since Klein's sensitivity was immaterial, the purchaser was then required to burn the certificate whilst Klein threw half the gold leaf into the Seine. (There were seven purchasers.)
* 1962: FLUXUS Internationale Festspiele Neuester Musik in [[Wiesbaden]] with [[George Maciunas]], [[Wolf Vostell]], [[Nam June Paik]] and others.<ref>''Fluxus at 50''. Stefan Fricke, Alexander Klar, Sarah Maske, Kerber Verlag, 2012, {{ISBN|978-3-86678-700-1}}.</ref>
* 1963: [[George Brecht]]'s collection of Event-Scores, ''[[Water Yam (artist's multiple)|Water Yam]]'', is published as the first ''Fluxkit'' by [[George Maciunas]].
* 1964: [[Yoko Ono]] publishes ''[[Grapefruit (book)|Grapefruit: A Book of Instructions and Drawings]]'', an example of heuristic art, or a series of instructions for how to obtain an aesthetic experience.
* 1965: [[Art & Language]] founder Michael Baldwin's ''[[Mirror Piece]]''. Instead of paintings, the work shows a variable number of mirrors that challenge both the visitor and [[Clement Greenberg]]'s theory.<ref>{{Citation|last=Tate|title=Art & Language – Conceptual Art, Mirrors and Selfies {{!}} TateShots|date=2016-04-22|url=https://www.youtube.com/watch?v=-klDfurJM5Y|access-date=2017-07-29}}</ref>
* [[Joseph Kosuth]] dates the concept of ''[[One and Three Chairs]]'' to the year 1965. The presentation of the work consists of a chair, its photo, and an enlargement of a definition of the word "chair". Kosuth chose the definition from a dictionary. Four versions with different definitions are known.
* 1966: Conceived in 1966 ''The Air Conditioning Show'' of [[Art & Language]] is published as an article in 1967 in the November issue of ''Arts Magazine''.<ref>{{Cite web|url=http://www.macba.cat/en/air-conditioning-show-air-show-frameworks-1966-67-al0481|title=Air-Conditioning Show / Air Show / Frameworks 1966–67|website=www.macba.cat|language=en|access-date=2017-07-29|archive-url=https://web.archive.org/web/20170729181530/http://www.macba.cat/en/air-conditioning-show-air-show-frameworks-1966-67-al0481|archive-date=2017-07-29|url-status=dead}}</ref>
* 1967: [[Mel Ramsden]]'s first ''100% Abstract Paintings''. The painting shows a list of chemical components that constitutes the substance of the painting.<ref>{{Cite web|url=http://www.macba.cat/en/exhibition-art-language-uncompleted/1/exhibitions/expo|title=ART & LANGUAGE UNCOMPLETED|website=www.macba.cat|language=en|access-date=2017-07-29}}</ref>
* 1968: Michael Baldwin, [[Terry Atkinson]], [[David Bainbridge (artist)|David Bainbridge]] and [[Harold Hurrell]] found [[Art & Language]].<ref name="bbc.co.uk">{{Cite web|url=https://www.bbc.co.uk/coventry/culture/stories/2003/04/art-and-language.shtml|title=BBC – Coventry and Warwickshire Culture – Art and Language|website=www.bbc.co.uk|access-date=2017-07-29}}</ref>
* 1968: [[Lawrence Weiner]] relinquishes the physical making of his work and formulates his "Declaration of Intent", one of the most important conceptual art statements{{citation needed|date=March 2024}} following LeWitt's "Paragraphs on Conceptual Art". The declaration, which underscores his subsequent practice, reads: "1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership."
* 1969: The first generation of New York [[alternative exhibition space]]s are established, including [[Billy Apple]]'s APPLE, Robert Newman's Gain Ground, where [[Vito Acconci]] produced many important early works, and 112 Greene Street.<ref name="Byrt"/><ref>{{cite journal|last=Terroni|first=Christelle|title=The Rise and Fall of Alternative Spaces|url=http://www.booksandideas.net/The-Rise-and-Fall-of-Alternative.html|journal=Books&ideas.net|date=7 October 2011|access-date=28 November 2012}}</ref>
* 1973: [[Jacek Tylicki]] begins to lay out blank canvases or paper sheets in the natural environment for nature to create art.<ref>{{cite magazine |last1=Szita |first1=Jane |date=21 September 2019 |title= LEAVING PAPER AND CANVAS OUTDOORS, THIS CREATOR LETS NATURE TAKE ITS ARTISTIC TOLL |url= https://frameweb.com/article/book/leaving-paper-and-canvas-outdoors-this-creator-lets-nature-take-its-artistic-toll |magazine=Frame |location=Amsterdam, Netherlands |publisher=Frame Publishers |isbn= 978-9492311276 |access-date=25 February 2025}} </ref>
* 1973-1979: [[Mary Kelly (artist)|Mary Kelly]] makes her ''Post-Partum Document'', composed of six separate parts charting the first six years of caring for her son. Through a psychoanalytical and feminist lens, the work explores the mother-child relationship and examines her son's evolving sense of self as well as her own.<ref>{{cite web |last1=Ventura |first1=Anya |title=Motherhood Is Hard Work |url=https://www.getty.edu/news/motherhood-is-hard-work-mary-kelly-postpartum-document/ |website=Getty |publisher=Getty Museum |access-date=7 April 2024}}</ref>
* 1981: [[Joey Skaggs]] in his hoax ''Metamorphosis: Cockroach Miracle Cure''',''''' posed as Dr. Josef Gregor and claimed to have developed a universal cure derived from [[cockroach]] hormones. Blending absurdist science with social critique, the performance exposed media gullibility and exemplified Skaggs’ use of conceptual art to challenge public trust in authority and expertise.<ref>{{Cite book |last=Schwarcz |first=Dr Joe |url=https://www.google.com/books/edition/A_Grain_of_Salt/iyulDwAAQBAJ?hl=en&gbpv=0 |title=A Grain of Salt: The Science and Pseudoscience of What We Eat |date=2019-10-08 |publisher=ECW Press |isbn=978-1-77305-385-1 |language=en}}</ref>
* 1982: The ''[[Victorine (opera)|opera Victorine]]'' by Art & Language was to be performed in the city of [[Kassel]] for documenta 7 and shown alongside Art & Language ''Studio at 3 Wesley Place Painted by Actors'', but the performance was cancelled.<ref>{{Cite book|title=Conceptual art and painting Further essays on Art & Language|first=Charles|last=Harrison|publisher=The MIT Press|year=2001|isbn=0-262-58240-6|location=Cambridge|page=58}}</ref>
* 1990: [[Ashley Bickerton]] and [[Ronald Jones (Interdisciplinarian)|Ronald Jones]] included in "Mind Over Matter: Concept and Object" exhibition of "third generation Conceptual artists" at the Whitney Museum of American Art.<ref>{{cite news| url=https://query.nytimes.com/gst/fullpage.html?res=9C0CEFDA113CF93AA25753C1A966958260&sec=&spon=&pagewanted=all | work=The New York Times | first=Michael | last=Brenson | title=Review/Art; In the Arena of the Mind, at the Whitney | date=19 October 1990}}</ref>
* 1991: [[Ronald Jones (Interdisciplinarian)|Ronald Jones]] exhibits objects and text, art, history and science rooted in grim political reality at [[Metro Pictures Gallery]].<ref>Smith, Roberta. [https://query.nytimes.com/gst/fullpage.html?res=9D0CE2DB1539F934A15751C1A967958260 "Art in review: Ronald Jones Metro Pictures"], ''[[The New York Times]]'', 27 December 1991. Retrieved 8 July 2008.</ref>
* 1991: [[Charles Saatchi]] funds Damien Hirst and the next year in the [[Saatchi Gallery]] exhibits his ''[[The Physical Impossibility of Death in the Mind of Someone Living]]'', a shark in formaldehyde in a vitrine.
* 1992: [[Maurizio Bolognini]] starts to "seal" his Programmed Machines: hundreds of computers are programmed and left to run ad infinitum to generate inexhaustible flows of random images which nobody would see.<ref>{{Cite book
|title=Maurizio Bolognini. Programmed Machines 1990–2005
|year=2005
|editor=Sandra Solimano 
|publisher=Villa Croce Museum of Contemporary Art, Neos
|location=Genoa
|isbn=88-87262-47-0
}}</ref>
* 1999: [[Tracey Emin]] is nominated for the [[Turner Prize]]. Part of her exhibit is ''[[My Bed]]'', her dishevelled bed, surrounded by detritus such as condoms, blood-stained knickers, bottles and her bedroom slippers.
* 2001: [[Martin Creed]] wins the Turner Prize for ''[[Work No. 227: The lights going on and off]]'', an empty room in which the lights go on and off.<ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/arts/1698032.stm|title=BBC News – ARTS – Creed lights up Turner prize|date=10 December 2001}}</ref>
* 2003: [[damali ayo]] exhibits at the Center of Contemporary Art, Seattle, WA ''Flesh Tone #1: Skinned'', a collaborative self-portrait where she asked paint mixers from local hardware stores to create house paint to match various parts of her body, while recording the interactions.<ref>{{cite web|url=https://thirdcoastfestival.org/article/damali-ayo-bts/|title=Third Coast Audio Festival Behind the Scenes with damali ayo}}</ref>
* 2005: [[Simon Starling]] wins the Turner Prize for ''Shedboatshed'', a wooden shed which he had turned into a boat, floated down the Rhine and turned back into a shed again.<ref>{{Cite web|url=https://www.thetimes.com/|title=The Times & The Sunday Times|website=The Times}}</ref>
* 2014: [[Olaf Nicolai]] creates the ''[[Memorial for the Victims of Nazi Military Justice]]'' on Vienna's [[Ballhausplatz]] after winning an international competition. The inscription on top of the three-step sculpture features a poem by Scottish poet [[Ian Hamilton Finlay]] (1924–2006) with just two words: ''all alone''.
* 2019: [[Maurizio Cattelan]] sells two editions of [[Comedian (artwork)|''Comedian'']], which appears as a banana duct taped to a wall, for US$120,000 each, garnering significant media attention.<ref name="Pogrebin">{{cite news |last1=Pogrebin |first1=Robin |title=That Banana on the Wall? At Art Basel Miami It'll Cost You $120,000. |url=https://www.nytimes.com/2019/12/06/arts/design/banana-art-basel-miami.html |access-date=December 6, 2019 |work=The New York Times |date=December 6, 2019 |archive-date=December 6, 2019 |archive-url=https://web.archive.org/web/20191206210004/https://www.nytimes.com/2019/12/06/arts/design/banana-art-basel-miami.html |url-status=live }}</ref>