什麼是概念藝術

所有賦予藝術作品的觀念比完成的成品更重要的各種藝術形式。杜象從1910年前後就開始探索此一理論，但這個名詞到1950年代晚期才由金霍茲所發明。在1960年代和1970年代，概念藝術成為國際間的主要潮流；倡導的先鋒是李維特（Sol LeWitt, 1928～）和柯舒斯（Joseph Kosuth, 1945～）。擁護它的人激進地重新界定藝術的對象、材料與技巧，並且開始質疑藝術本身的存在與功用。概念藝術的主張是，「真正」的藝術作品不是藝術家為了展覽與出售而創作的物質實體，藝術品其實是由「概念」或「觀念」所構成。典型的概念藝術作品是涵蓋照片、文字、地圖、圖表和圖文的結合，藝術家審慎地將視覺上無趣或細瑣的事物加以轉化，將注意力導向他們所表達的「觀念」。概念藝術的呈現向來極度紛歧；有名的範例是柯舒斯的《椅子》（One and Three Chairs, 1965），這件作品結合真實的椅子、椅子的照片和一則字典中「椅子」的定義。概念藝術植根於許多20世紀後期的藝術創作。

conceptual art

Any of various art forms in which the idea for a work of art is considered more important than the finished product. The theory was explored by Marcel Duchamp from c. 1910, but the term was only coined in the late 1950s by Edward Kienholz. In the 1960s and '70s it became a major international movement; its leading exponents were Sol LeWitt (born 1928) and Joseph Kosuth (born 1945). Its adherents radically redefined art objects, materials, and techniques, and began questioning the very existence and use of art. Its claim is that the "true" work of art is not a physical object produced by the artist for exhibition or sale, but rather consists of "concepts" or "ideas". Typical conceptual works include photographs, texts, maps, graphs, and image-text combinations that are deliberately rendered visually uninteresting or trivial in order to divert attention to the "ideas" they express. Its manifestations have been extremely diverse; a well-known example is Kosuth's One and Three Chairs (1965), which combines a real chair, a photograph of a chair, and a dictionary definition of "chair". Conceptual art was fundamental to much of the art produced in the late 20th century.