Editing Conceptual art (section)

==Language and/as art==
Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. Although the utilisation of text in art was in no way novel, only in the 1960s did the artists [[Lawrence Weiner]], [[Edward Ruscha]],<ref>{{cite web |url=http://www.artic.edu/aic/exhibitions/exhibition/ruscha |title=Ed Ruscha and Photography |date=March 1 – June 1, 2008 |publisher=The Art Institute of Chicago |access-date=14 September 2010 |archive-url=https://web.archive.org/web/20100531181852/http://www.artic.edu/aic/exhibitions/exhibition/ruscha |archive-date=31 May 2010 |url-status=dead |df=dmy-all }}</ref> [[Joseph Kosuth]], [[Robert Barry (artist)|Robert Barry]], and [[Art & Language]] begin to produce art by exclusively linguistic means. Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching [[Composition (visual arts)|composition]] (e.g. [[Synthetic Cubism]]), the conceptual artists used language in place of brush and canvas, and allowed it to signify in its own right.<ref>Anne Rorimer, ''New Art in the Sixties and Seventies'', Thames & Hudson, 2001; p. 71</ref> Of Lawrence Weiner's works Anne Rorimer writes, "The thematic content of individual works derives solely from the import of the language employed, while presentational means and contextual placement play crucial, yet separate, roles."<ref name="Rorimer, p. 76">Rorimer, p. 76</ref>

The British philosopher and theorist of conceptual art [[Peter Osborne (writer and academic)|Peter Osborne]] suggests that among the many factors that influenced the gravitation toward language-based art, a central role for conceptualism came from the turn to linguistic theories of meaning in both Anglo-American [[analytic philosophy]], and [[structuralism|structuralist]] and [[post-structuralism|post structuralist]] [[Continental philosophy]] during the middle of the twentieth century. This [[linguistic turn]] "reinforced and legitimized" the direction the conceptual artists took.<ref>Peter Osborne, Conceptual Art: Themes and movements, Phaidon, London, 2002. p. 28</ref> Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art.<ref>Osborne (2002), p. 28</ref> Osborne later made the observation that contemporary art is ''[[post-conceptual]]''<ref>{{Cite web |url=http://www.fondazioneratti.org/mat/mostre/Contemporary%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf |title=Archived copy |access-date=2013-07-18 |archive-date=2016-12-06 |archive-url=https://web.archive.org/web/20161206042405/http://www.fondazioneratti.org/mat/mostre/Contemporary%20art%20is%20post-conceptual%20art%20/Leggi%20il%20testo%20della%20conferenza%20di%20Peter%20Osborne%20in%20PDF.pdf |url-status=dead }}</ref> in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in [[Como]] on July 9, 2010. It is a claim made at the level of the [[ontology]] of the work of art (rather than say at the descriptive level of style or movement).

The American art historian [[Edward A. Shanken]] points to the example of [[Roy Ascott]] who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with [[cybernetic art]] in England, was not included in Cybernetic Serendipity because his use of [[cybernetic]]s was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of [[Lucy R. Lippard]]'s seminal ''Six Years: The Dematerialization of the Art Object from 1966 to 1972'', Ascott's anticipation of and contribution to the formation of conceptual art in Britain has received scant recognition, perhaps (and ironically) because his work was too closely allied with art-and-technology. Another vital intersection was explored in Ascott's use of the thesaurus in 1963 [http://telematic.walkerart.org/timeline/timeline_shanken.html telematic connections:: timeline], which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept that would be taken up in Joseph Kosuth's ''Second Investigation, Proposition 1'' (1968) and Mel Ramsden's ''Elements of an Incomplete Map'' (1968).