Conceptual art emerged in the 1960’s. The term was first used in 1961 by Henry Flynt in a Fluxus publication. It later evolved into a different meaning when the Art and Language group, headed by Joseph Kossuth, adopted it. This group believed that Conceptual art was created when the analysis of an art object succeeded the object itself.
Land art is an art movement which emerged in the United States in the
late 1960s and early 1970s, in which landscape and the work of art are
inextricably linked. Sculptures are not placed in the landscape, rather
the landscape is the very means of their creation. The works frequently
exist in the open, located well away from civilization, left to change
and erode under natural conditions. One example is the Spiral Jetty,
considered to be the central work of American sculptor Robert Smithson.
"Spiral Jetty" (shown here) is an earthwork sculpture constructed in
1970. Built of mud, salt crystals, basalt rocks, earth, and water on the
northeastern shore of the Great Salt Lake near Rozel Point in Utah, it
forms a 1500-foot long, 15-foot wide counterclockwise coil jutting from
the shore of the lake which is only visible when the level of the Great
Salt Lake falls below an elevation of 4,197.8 feet.
The Italian movement Arte Povera, or poor Art is another type of
Conceptual Art. The term Arte Povera was introduced by the Italian art
critic and curator, Germano Celant, in 1967. His pioneering texts and a
series of key exhibitions provided a collective identity for a number of
young Italian artists. Poor Art emerged as the Italian economy
collapsed into chaos and political instability. The word poor here
refers to the movement's signature exploration of a wide range of
materials beyond the traditional ones of paint, canvas, bronze, or
carved marble. Arte Povera is art made without restraints, a complete
openness towards materials and processes.
Some Conceptual art consisted simply of written statements or
instructions. Many artists began to use photography, film and video. In
1953 Robert Rauschenberg exhibited "Erased De Kooning Drawing", a
drawing by Willem De Kooning
which Rauschenberg erased. It raised many questions about the
fundamental nature of art, challenging the viewer to consider whether
erasing another artist's work could be a creative act, as well as
whether the work was only "art" because the famous Rauschenberg had done