A Quote by Sol LeWitt

In conceptual art the idea or concept is the most important aspect of the work — © Sol LeWitt
In conceptual art the idea or concept is the most important aspect of the work
What art is not processed? "Conceptual art." Somebody making a painting has to conceive of the size. I don't understand where these words came from. I can't accept the fact that the concept of art as our concept of humanity is expanding.
I'm not at all sure that the concept of the readymade isn't the most important single idea to come out of my work.
I always thought there was a - even in the most, quote, "conceptual art," there is always a physical aspect to it. I never knew what the term meant.
Most of the pilots I choose do not have high-concept ideas, so for me it's not the idea as much as the execution of the idea, and if the idea, like you take a bar in Boston, that's not a high-concept idea. But if it's executed well, it makes a great show.
The idea of the culture that you live in determining meaning in your art, though, is a very important aspect of what art would be about. But that had more to do with the kind of general understanding of what the hell you're doing, you know.
Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or ‘dematerialized’
I liked that the work itself was something other than simply what you saw It meant you could have an art work which was that idea of an art work, and its formal components weren't important.
Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.
The most important lesson I received from Conceptual art consisted in the recording of simple and obvious things, and viewing them under a whole new light.
I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.
Perhaps it is even a good idea to stir up a rivalry between conceptual and imaginative activity. In any case, one will encounter nothing but disappointments if he intends to make them cooperate. The image can not provide matter for a concept. By giving stability to the image, the concept would stifle its life.
Given how long philosophers have been at conceptual analysis (I mean the 20th century stuff), and how many have been doing it, what can we say are the two most important concept results of all that effort?
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.
That's one of the hardest parts of putting together an album - finding that concept, that unifying idea. Especially as I write mostly in instrumental music, the idea of having a central concept that unifies the music is very important to me.
Conceptual art might be, for better or worse, (definable as) the art most susceptible to lossy compression.
Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.
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