Global Conceptualism of Art between 1962 and 1969
Since visuality and other categories different from those of this decade are rigorously eliminated, the global conceptualism of art between 1962 and 1969 is complete. Additionally, the modernist paintings introduced a new structuralist approach to looking at and representing art (Buchloh). The visual, form, and commodity status of an object are all included in a perceptual model that exists separately from the intellectual one. In the early years of Conceptual Art's development, it was important to respect the strong opinions of artists who established the orthodoxy and purity of the movement, so fostering uniformity. It is important to note that there were oppositions in the formation of Conceptual Art. More specifically, it arose from the readings by artists on sculptures which defined the manner in which they chose their central figures of reference. Artists like Mel Bochner chose Dan Flavin, Dan Graham took Sol LeWitt as the figure of reference, while Joseph Kosuth chose Donald Judd (Buchloh). For this reason, there was criticism which the artists realized yielding different structural and formal results. Some artists attested to the validity of the traditional aesthetics, while others denied it given the procedures used in the production and consumption of Minimalism and Pop Art.
Diametrical Opposition in Conceptual Art
There is a diametrical opposition in Conceptual Art, and Joseph Kosuth's work known as Proto-Investigations reveals this. In this objection, there is a variation in the structural contingency, in addressing the crucial issues and further contextuality. However, the rapid pace with which different cultures fuse into one unit has paved the way for self-reflexiveness, which had an impact on the logical positivism of Conceptual Art.
Global Networks and the Aggregate as Form
Globalization has allowed the transfer of capital from one place to another to occur with ease. In particular, cultural globalization has contributed to diametric oppositions given the need for diversity or homogenization. Regarding modern art, various regions around the world acknowledge aesthetic beauty in different ways (Foster). The early twentieth century saw the domination of constructivism and surrealism, which challenged the art concepts of the nineteenth century.
Multipolar Worldwide Art History
In 1868-1912 in Japan, there were two different types of paintings, namely yoga and nihonga. Yoga was modern but tried to emulate traditional techniques, while on the other hand, nihonga brought out the details of historical Japanese themes and materials. When presented in exhibitions, oil paintings, and ink paintings show similarities, but there are conceptual contradictions in their histories (Foster). However, coming up with a multipolar worldwide art history will assist in overcoming the challenges attached to the impact of globalization and diametrical opposition. Thus, the hegemony in the art world will have a monolithic effect.
Eurocentrism of International Art
After 1989 onwards, the occurrence of different events around the world has paved the way for Eurocentrism of international art. One good example is the Havana Biennial that changed the art landscape of the Third World (Foster). It created an international podium for different marginalized areas to present their art. Thus, various artists managed to communicate and communicate their art outside their countries. Concerning the aggregation of form and ideas, it has bridged the gap surrounding the history of conceptual art. Hence, instead of bringing together artists with a common identity, the aggregation of form and ideas from different multitudes was not only due to their shared conditions but also invoked provocations. Thus, managing to unite together ostensibly divergent qualities.
Works Cited
Buchloh, Benjamin. Conceptual Art 1962-1969: From The Aesthetic Of Administration To The Critique Of Institutions. October, vol 55, 1990, p. 105. The MIT Press
Foster, Ch 5: “Globalization, networks, and the aggregate as form,” pp. 51-60.
