Conceptual art, as a historical art movement that emerged in the late 1960s and early 1970s and as a point of reference for contemporary art practices, is generally identified by its use of language. For many, it has even redefined writing as an artistic practice. But how exactly was language used, and with what aim? Equally important, how has the presence of language in a visual art context affected and changed the ways in which art is talked about, theorised and produced? Chapter 1, Introduction, outlines the aim and method of this book: an interdisciplinary study of conceptual art’s critical use of image and text juxtapositions as a strategy for exposing and challenging several ideological and institutional demands placed on artistic practice.
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