1) Sol LeWitt outlines conceptual art, in which the idea or concept is the most important aspect of the work rather than its physical form or the artist's skill. The execution of conceptual art is intended to be a "perfunctory affair" where the idea drives the making of the art.
2) LeWitt states that conceptual art aims to engage the viewer mentally rather than emotionally. It is not necessarily logical or illustrative of theories but is intuitive and involves mental processes.
3) LeWitt acknowledges that conceptual art exists on a spectrum and that these paragraphs on conceptual art are not meant as strict rules but reflect his current thinking as an artist working in this mode. Different approaches may
The global outsourcing industry is constantly evolving through new contracting award characteristics and an expanding universe of successful service providers. ISG's TPI Index helps industry participants, enterprises and organizations keep pace and capitalize from the latest data on outsourcing trends. It is the authoritative source for marketplace intelligence related to outsourcing: transaction structures and terms, industry adoption, geographic prevalence and service provider metrics.
A presentation conducted by Professor Edward J Blakely, Honorary Professor, Urban & disaster recovery expert, United States Studies Centre, University of Sydney.
Presented on Thursday the 3rd of October 2013.
What we term infrastructure today is the built up environment created in the last 100 years to move people and commerce, heat and cool. This infrastructure was created as a buttress against nature. It was built to be solid and immoveable. It also had to be upgraded and repaired in the same places to perform the same functions. Future function were merely linear projections of the past. But the past is no longer prologue. Too much of what we term infrastructure today is not useful for solving today’s problems let along tomorrows. Would we ever create cities on the ocean’s edge, if we knew of sea-level rise? Would we ever create massive non adaptable fixed power stations if we knew fuels would dwindle and centralized systems would be dangerous and unsustainable? We know the answers. But we continue to march backward to the future. In this talk I want to look back to ancient times where cities failed because they were not adaptable and project a future where we will have to create re-generative infrastructure that adapts to its environment and settlement systems that are light on the
environment rather than fixed and heavy. This approach calls for a total re-thinking of urban settlement systems and a new generative infrastructure to support them.
By Lois Coatney, Kevin Boulas and Ola Chowning. ITIL has long been a cornerstone of service delivery and integration. Yet the growth in as-a-service technologies and the emerging application economy require shorter agile development sprints. Is ITIL too rigid and too slow for IT and the business? Join our dialogue about the challenges of the application economy and how ITIL must evolve to support a new generation of service delivery.
Bezoekers boeien en binden: Big-Data op uw website. Parantion op Cascadis Con...parantion
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The global outsourcing industry is constantly evolving through new contracting award characteristics and an expanding universe of successful service providers. ISG's TPI Index helps industry participants, enterprises and organizations keep pace and capitalize from the latest data on outsourcing trends. It is the authoritative source for marketplace intelligence related to outsourcing: transaction structures and terms, industry adoption, geographic prevalence and service provider metrics.
A presentation conducted by Professor Edward J Blakely, Honorary Professor, Urban & disaster recovery expert, United States Studies Centre, University of Sydney.
Presented on Thursday the 3rd of October 2013.
What we term infrastructure today is the built up environment created in the last 100 years to move people and commerce, heat and cool. This infrastructure was created as a buttress against nature. It was built to be solid and immoveable. It also had to be upgraded and repaired in the same places to perform the same functions. Future function were merely linear projections of the past. But the past is no longer prologue. Too much of what we term infrastructure today is not useful for solving today’s problems let along tomorrows. Would we ever create cities on the ocean’s edge, if we knew of sea-level rise? Would we ever create massive non adaptable fixed power stations if we knew fuels would dwindle and centralized systems would be dangerous and unsustainable? We know the answers. But we continue to march backward to the future. In this talk I want to look back to ancient times where cities failed because they were not adaptable and project a future where we will have to create re-generative infrastructure that adapts to its environment and settlement systems that are light on the
environment rather than fixed and heavy. This approach calls for a total re-thinking of urban settlement systems and a new generative infrastructure to support them.
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The global outsourcing industry is constantly evolving through new contracting award characteristics and an expanding universe of successful service providers. ISG's TPI Index helps industry participants, enterprises and organizations keep pace and capitalize from the latest data on outsourcing trends. It is the authoritative source for marketplace intelligence related to outsourcing: transaction structures and terms, industry adoption, geographic prevalence and service provider metrics.
The ISG Outsourcing Index (formerly the TPI Index) provides a quarterly review of the latest sourcing industry data and trends for clients, service providers, analysts and the media. For more than a decade, it has been the authoritative source for marketplace intelligence related to outsourcing transaction structures and terms, industry adoption, geographic prevalence and service provider performance.
The global outsourcing market is constantly evolving. Keep pace with the change and capitalize on the latest trends with the ISG Outsourcing Index.
Team Gallery ReviewPRESENTED BY RUPESH DHAKA.docxbradburgess22840
Team Gallery Review
PRESENTED BY :
RUPESH DHAKAL
PROFFESOR RICHARD MILLER
ARTS -1301-77204
DATE : 09/15/2019
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COMMUTER 2
Commuter 2 is a painting made by Kendall Stallings. It is the art known as acrylic on canvas. The size of the art is 48 * 36 inches. This work was created in 2014 and it can be used as an artwork to get knowledge about canvas art.
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DALLAS ART GALLERY
Location : DALLAS ART GALLERY
DALLAS, TEXAS
DATE : 09/14/2019
TIME : 11:30 AM
The above mentioned art gallery has many more art collection to have a look and research about it .
z
COMMUTER 2
Kendal Stallings is an American artist who began his art instruction in 1965 at the age of 11. In this art the artists intent is to show the viewers that the emotion of a person while travelling. The intend of the artist is to let the viewer to know about the journey that a commuter has to travel daily through his art.
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DESIGN PRINCIPLES AND VISUAL ELEMENTS
In this art the artist describes about the various principle of art with the help of visual elements. The art uses the proper shape and size for his art. The use of proper texture can also be seen in the art. The use of proper color is also seen in the art. The artist have used appropriate visual elements so that the viewers can have better knowledge about the commuter. The proper shape of the person and the bicycle is shown by the artist so that the viewer can easily identify it. The proper texture for the person sitting in the bicycle is used. Likewise the distinguishable color is used by the artist which is black. In this way the design principles are followed by the artist to make the art meaningful.
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5
Art comparison
Boy Bitten By a Lizard
Commuter 2
In this art the artist is trying to describes about poisonous attack of salamander over the god. This is a big art work with lots of meaning in it. There is use of different colors in this art. The use of appropriate texture is difficult to see.ßß
In this art the artist describes about the journey and path of a commuter. It is not so vast art work. There is use of monochromatic color only. The use of appropriate texture can be seen easily.
z
CONCLUSION
In the conclusion I would like to say that the gallery review assignment helped to get a chance to look over different types of paintings and art works that were on the gallery. It also helped to get knowledge about different types of artist and their art work.
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TEAM GALLERY REVIEW
COMMUNICATION SKILLS VALUE RUBRIC
The class will be randomly assigned into teams of 3 or more students.
Within a team, each Team Member will select 1 work of art to be found in an approved professional art
gallery. Each Team Member will be creating a power point with images of each of these art objects. The team
may have to seek permission to photograph the object from the gallery or artist. Identify and describe these
works of art based on the specifications given in the rubric.
The team will a.
You are invited to reflect on the nature of art and its fundamental .docxjacvzpline
You are invited to reflect on the nature of art and its fundamental principles. Here is a chance for you to think and write as an expert on art theory. Two types of art are offered for a debate: Representation versus Abstraction; and the idea of
context
is presented (the time and place in which the artwork was created).
1. Watch these two video-talks:
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https
://
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.
youtube
.com/watch?t=198&v=8-5
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2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
Part 2
2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
3. Then choose two art works from
https
://
www
.
google
.com/
culturalinstitute
/beta/
. Click on the left menu bar.
You may choose by clicking on the "Projects" or "Artists"
from the left menu bar.
4. Find an example of representational art and one abstract work
.
5.
List the a) name, b) artist, c) date and d) medium of the works.
Please
als
o c
opy
and paste links to the art work (
see tutorial on how to copy link
).
6. Use these two works as examples in your essay to support your opinions and ideas about representation, abstraction and context in art.
7. Reply to at least two of your classmates. Your initial posting should be a minimum three (3) paragraphs in length, while your responses should be at least one (1) paragraph
I want you to write two responses, one for each of these paragraphs.
1)
The video describe two paintings, one by John Everlett Millias and the other by Barnett Newman. John’s painting was used as an example of a representational piece, while Barnett’s is an example of an abstract piece. Both paintings were beautiful, however I found that representational piece to be more appealing to me.
In the video the narrators express some of their opinions, some I agree while others I disagree..
2Guide to Writing a Formal AnalysisDescription A fo.docxlorainedeserre
2
Guide to Writing a Formal Analysis
Description: A formal analysis includes an analysis of the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. A formal analysis assumes a work of art is (1) a constructed object (2) that has been created with a stable meaning (even though it might not be clear to the viewer) (3) that can be ascertained by studying the relationships between the elements of the work. To aid in writing a formal analysis, you should think as if you were describing the work of art to someone who has never seen it before. When your reader finishes reading your analysis, she/he should have a complete mental picture of what the work looks like. Yet, the formal analysis is more than just a description of the work. It should also include a thesis statement/theme that reflects your conclusions about the work. The thesis statement may, in general, answer a question like these: What do I think is the meaning of this work? What is the message that this work or artist sends to the viewer? What is this work all about? The thesis statement is an important element. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper.
Format for the Paper: Two pages, double-spaced, 10 or 12 pt font, 1” borders. Make sure you proofread your papers for adhering to the information listed above, as well as incorrect grammar, spelling, punctuation, and other errors.
In the first paragraph, called the introduction, you will include:
•the name of the artist (if known), title (which is underlined or italicizedevery time you use the title in your paper), date
•what you think is the subject
•a very brief description of the work
•thesis statement - usually the last line or so of your first paragraph.
From that point, the rest of the formal analysis should include not only a description of the piece, but especially those details of the work that have led you to come to your conclusion. Yet, your paper should not be a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, your paper should have a sense of order, moving purposefully through your description with regard to specific elements (ex: one paragraph may deal with composition, another with a description of the figures, another with the background, another about line, etc.). Finally, in your conclusion (the final paragraph) you should end your paper by pulling your threads together in a conclusion that in some way bears a relationship with your stated theme.
NO RESEARCH IS TO BE USED IN THIS PAPER. In other words, you are strictly relying on your ability to visually ‘read’ a work of art and make interpretations about it based on your analysis of it. Remember too that your analysis should not be just a mechanical, physical description. Please use descriptive language and adjectives to describe your work. Begin with a general description of the work, and then move on to ...
Art Criticism Take a field trip to a museum, gallery.docxdavezstarr61655
Art Criticism
Take a field trip to a museum, gallery, etc. to view works of art in order to find something you would
be interested in writing about in the mode of art criticism, including how the artwork relates to a
topic or theory we have covered in class, and using at least two sources (at least one of which should
be a scholarly article NOT from our course). 6 pages minimum.
Describe: Tell what you see (the visual facts).
Questions to consider:
1. Where did you see the art? (Name gallery/museum/etc., geographical location, etc.)
2. What is the name of the artist who created the artwork?
3. What kind of an artwork is it?
4. What is the name of the artwork?
5. When was the artwork created?
6. Name some other major events in history that occurred at the same time this artwork was
created.
7. List the literal objects in the painting (trees, people, animals, mountains, rivers, etc.).
8. What do you notice first when you look at the work(s)? Why?
9. What kinds of colors do you see? How would you describe them?
10. What shapes can we see? What kind of edges do the shapes have?
11. Are there lines in the work(s)? If so, what kinds of lines are they?
12. What sort of textures do you see? How would you describe them?
13. What time of day/night is it? How can we tell?
13. What is the overall visual effect or mood of the work(s)?
Analyze: Mentally separate the parts or elements, thinking in terms of textures, shapes/forms,
light/dark or bright/dull colors, types of lines, and sensory qualities. In this step consider the
most significant art principles that were used in the artwork. Describe how the artist used them
to organize the elements. Suggested questions to help with analysis:
Questions to consider:
1. How has the artist used colors in the work(s)?
2. What sort of effect do the colors have on the artwork?
3. How as the artist used shapes within the work of art?
4. How have lines been used in the work(s)? Has the artist used them as an important or
dominant part of the work, or do they play a different roll?
5. What role does texture play in the work(s)? Has the artist used the illusion of texture or has
the artist used actual texture? How has texture been used within the work(s).
6. How has the artist used light in the work(s)? Is there the illusion of a scene with lights and
shadows, or does the artist use light and dark values in a more abstracted way?
7. How has the overall visual effect or mood of the work(s)? been achieved by the use of
elements of art and principles of design.
8. How were the artists design tools used to achieve a particular look or focus?
Interpret: An interpretation seeks to explain the meaning of the work based on what you have
learned so far about the artwork, what do you think the artist was trying to say?
Questions to consider:
1. What was the artist’s statement.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
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Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
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Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
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Lewitt paragraphs on conceptual art
1. Sol LeWitt, “Paragraphs on Conceptual Art”
Artforum (June, 1967)
The editor has written me that he is in favor of avoiding “the notion that the artist is a kind of ape that has
to be explained by the civilized critic”. This should be good news to both artists and apes. With this
assurance I hope to justify his confidence. To use a baseball metaphor (one artist wanted to hit the ball out
of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the
opportunity to strike out for myself.
I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or
concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means
that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The
idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it
is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from
the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned
with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would
want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is
out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to
expressionist art is accustomed, that would deter the viewer from perceiving this art.
Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at
times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer
into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic).
Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most
ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of
simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas
are discovered by intuition. What the work of art looks like isn’t too important. It has to look like
something if it has physical form. No matter what form it may finally have it must begin with an idea. It is
the process of conception and realization with which the artist is concerned. Once given physical reality
by the artist the work is open to the perception of al, including the artist. (I use the word perception to
mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a
subjective interpretation of both). The work of art can be perceived only after it is completed.
Art that is meant for the sensation of the eye primarily would be called perceptual rather than conceptual.
This would include most optical, kinetic, light, and color art.
Since the function of conception and perception are contradictory (one pre-, the other postfact) the artist
would mitigate his idea by applying subjective judgment to it. If the artist wishes to explore his idea
thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and
others whimsies would be eliminated from the making of the art. The work does not necessarily have to
be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be
visually pleasing.
1
2. To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of
designing each work in turn. The plan would design the work. Some plans would require millions of
variations, and some a limited number, but both are finite. Other plans imply infinity. In each case,
however, the artist would select the basic form and rules that would govern the solution of the problem.
After that the fewer decisions made in the course of completing the work, the better. This eliminates the
arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.
When an artist uses a multiple modular method he usually chooses a simple and readily available form.
The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best
that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the
entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form
repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.
This arrangement becomes the end while the form becomes the means.
Conceptual art doesn’t really have much to do with mathematics, philosophy, or nay other mental
discipline. The mathematics used by most artists is simple arithmetic or simple number systems. The
philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy.
It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it is out
of his hand the artist has no control over the way a viewer will perceive the work. Different people will
understand the same thing in a different way.
Recently there has been much written about minimal art, but I have not discovered anyone who admits to
doing this kind of thing. There are other art forms around called primary structures, reductive, rejective,
cool, and mini-art. No artist I know will own up to any of these either. Therefore I conclude that it is part
of a secret language that art critics use when communicating with each other through the medium of art
magazines. Mini-art is best because it reminds one of miniskirts and long-legged girls. It must refer to
very small works of art. This is a very good idea. Perhaps “mini-art” shows could be sent around the
country in matchboxes. Or maybe the mini-artist is a very small person, say under five feet tall. If so,
much good work will be found in the primary schools (primary school primary structures).
If the artist carries through his idea and makes it into visible form, then all the steps in the process are of
importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All
intervening steps –scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations–
are of interest. Those that show the thought process of the artist are sometimes more interesting than the
final product.
Determining what size a piece should be is difficult. If an idea requires three dimensions then it would
seem any size would do. The question would be what size is best. If the thing were made gigantic then the
size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become
inconsequential. The height of the viewer may have some bearing on the work and also the size of the
space into which it will be placed. The artist may wish to place objects higher than the eye level of the
viewer, or lower. I think the piece must be large enough to give the viewer whatever information he needs
to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is
of impediment and requires difficulty of vision or access).
2
3. Space can be thought of as the cubic area occupied by a three-dimensional volume. Any volume would
occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The
intervals and measurements can be important to a work of art. If certain distances are important they will
be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal
(things placed equal distances apart) to mitigate any interest in interval. Regular space might also become
a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is
ireregular gains more importance.
Architecture and three-dimensional art are of completely opposite natures. The former is concerned with
making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian
or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the
characteristics, such as forming utilitarian areas, it weakens its function as art. When the viewer is
dwarfed by the larger size of a piece this domination emphasizes the physical and emotive power of the
form at the expense of losing the idea of the piece.
New materials are one of the great afflictions of contemporary art. Some artists confuse new materials
with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most
artists who are attracted to these materials are the ones who lack the stringency of mind that would enable
them to use the materials well. It takes a good artist to use new materials and make them into a work of
art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea
of the work (another kind of expressionism).
Three-dimensional art of any kind is a physical fact. The physicality is its most obvious and expressive
content. Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. The
physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color,
surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention
to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as
an expressive device. The conceptual artist would want o ameliorate this emphasis on materiality as much
as possible or to use it in a paradoxical way (to convert it into an idea). This kind of art, then, should be
stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be
in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the artist
chooses, the form being unimportant.
These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible
to my thinking at this time. These ideas are the result of my work as an artist and are subject to change as
my experience changes. I have tried to state them with as much clarity as possible. If the statements I
make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be
obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate
a conceptual form of art for all artists. I have found that it has worked well for me while other ways have
not. It is one way of making art; other ways suit other artists. Nor do I think all conceptual art merits the
viewer’s attention. Conceptual art is good only when the idea is good.
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