Introduction

In order to create diverse learning experiences among our students, it is important for educators to teach art through a variety of methods. Through the use of conceptual art, students gain an understanding of how important it is to express their message more so than the actual aesthetics of the work being created. According to ArtEducation.com.au (n.d.), conceptual art is seen as an act against formalism and the goal of conceptual art is to convey a particular idea or concept to an audience. In doing so, this creates an understanding of theories behind art rather than the work itself and the materials used to create it. This approach allows educators to focus their passions toward a greater understanding of what it means to teach according to Nickerson-Crowe (2005).

Conceptual Approach

Students in today’s society grow up often criticized for expressing their direct opinions of topics and/or concerns. A way we as educators can assist our students is through teaching art with conceptual methods. Through encouraging these conceptual approaches within our art classroom, it allows for these feelings to be expressed through the students work while conveying important views. However, it is important that we continue to encourage that these ideas not be memorized but the student should arrive at them as discoveries through selected things, people, events, or processes and relationships according to Kahl (1973). Despite our best efforts as art educators, our intentions can often be misunderstood. One concern with this method is how conceptualism can provide a problem in the evaluation of student artwork according to Leuthold (1999). This is why it is important to focus on the originality, shock value, and social value of the work. These evaluation methods help in eliminating the student’s self conscious feelings about their work among peers when all students are asked to create a traditional piece of work all consisting of the same criteria.

According to Opehshaw & Strasser (1967), it is important that teachers keep in mind that they are the key in initiation and stimulation of productive thinking within the classroom. According to Leuthold (1999), it is important that we keep in mind that students should not be asked to produce objects, master traditional artistic skills or exhibit in spaces defined as art spaces. Instead Leuthold (1999) suggests that in order to stay within this educational context it is important to maintain the relationship of conceptual art with instrumentalist theories of art; this may cause concerns about the loss of formal, expressive, and representational values in art. However, it is still important for educators to teach the value of theory to students. Kahl (1973) states, instruction should encourage openness to change through the acceptance of creative attitudes and responses.

History of Conceptual Art

Conceptual art began emerging around the early 20th century. "It brought into focus, and into the artistic mainstream, subversive ideas that had been hovering on modernism's edges for much of the 20th century, in Dada, Fluxus, Happenings, Concrete Poetry and Situationism," Smith, 1999. The popularity of conceptual art was brought about through its ability to be a universal type of art. Smith states it was virtually formless with no identity, and could be manifested with any or no materials at all. This type of art often required little to no formal training. It's end result was to gain attention through the message being portrayed as opposed to the traditional artwork. Once the overall message of the artist's message was conveyed, the work became 'playful and amusing'.

Conceptualism encouraged a new self-consciousness and critical attitude on the one hand yet a new sense of anything goes on another according to Schwan (2000). However, conceptual art created skepticism among fellow artists as well as spectators. Marcel Duchamp's Fountain is one of the most well known pieces during this time. Conceptualism brought up several questions of what constitutes a piece of artwork. Schawn (2000) brings to our attention the question of "When is a urinal just a urinal?" Where is the line drawn between what is considered to be art? I feel as though this question is left up to what the artist wants the viewer to achieve from the piece. This question should be left up to the viewer and the artist. As with my own work, as long as a viewer can take something away from the piece, it surpasses my goal as an artist.

Conceptual Artists

Fountain, a well-known piece created by Marcel Duchamp, is known as one of the benchmark pieces of commissioned conceptual art in the early 20th century. Although controversial, Duchamp displayed the main goal of conceptualism: a piece that expresses a view regardless of it's aesthetics. Most of Duchamp's work consists of 'ready made' pieces that required little or no additional work from the artist. Museums first rejected Duchamp's piece as a work of art. In doing so, this piece was vandalized on several occasions. Duchamps work was urinated on and struck with a hammer in a Nimes show by Pinoncelli, 77. When asked for the reason, Pinoncelli claimed it was a contribution to Duchamp according to The Hamilton Spectator (2006). Although Duchamp experienced vandalism and rejection of his work, he still strives to make a statement through his art.

Barbara Kruger was also very influential during time of conceptual art. Her work consisted of “paste-ups” similar to editorial designs of yesteryear according to Burton (2009). Like the Gorilla Girls, Kruger's work consists of work exemplifies the feminist recuperation during the conceptual period. "Ms. Kruger may be trying to counter the argument that political art preaches to the converted by providing the converted with a visceral," Smith 1994. Kruger's work is exhibited not only in museums but also as installations, billboards, and several other public places around the world. As with other conceptual artists, Krueger believe aesthetics are the least important part of her work. "Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways," Barbara Krueger.

Conclusion

Conceptual art has is often deemed as controversial and even become the result of vandalism. However, this has not discouraged artists such as Kruger or Duchamp to displace their beliefs in order to create their work. It is important that we as educators use this approach to encourage our students to express themselves within their artwork. When we take a step back and look at the overall project without strict restrictions, it encourages a more intimate approach to artwork by including several aspects of their personal lives. As educators, it is our responsibilities to not only teach the important of 'how to' in art but to focus on the theories and philosophies of expressionism as well.

Images & References

Andrews, B.,(2004). Curriculum renewal through policy development in arts education. Research Studies in Music Education, 23, 76-88. doi:10.1177/1321103X040230011001

Art Education. (n.d.). Conceptual art | Art movement. Retrieved from http://www.arteducation.com.au/art-movements/conceptual-art.php

Art History Archive. (n.d.). Feminist Artist. Retrieved from http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html

Burton, J., (2009). Barbara Kruger. Artforum 47(10), 333.

Kahl, W. (1973). Conceptual approach to art curriculum planning K-12. Madison, Wisconsin: Wisconsin State Department of Public Instruction.

Leuthold, S. (1999).Conceptual art, conceptualism, and aesthetic education. Journal of Aesthetic Education 33(1), 37-47.

Marcel Duchamp, fountain, 1917; modern art explained. (2009, March 24). The Times (London). Retrieved from http://www.lexisnexis.com

New York Times News Service. (2006, January 7).Artist takes aim at Duchamp’s urinal. The Hamilton Spectator. Retrieved from http://www.lexisnexis.com

Nickerson-Crowe, K., (2005). An arts-based approach to conceptual educational practice. Canadian Journal of Education 28(3), 534.

Openshaw, K. & Strasser, B. (1967). A conceptual model of instruction. Journal of Teacher Education, 18, 63-74. doi:10.1177/002248716701800112

Schwan, G. (2000, July 16). ‘Conceptual’ is art to some, bunk to others. Palm Beach Post (Florida). Retrieved from http://www.lexisnexis.com

Smith, R. (1999, April 25).Conceptual art: Over, and yet everywhere. Palm Beach Post (Florida). Retrieved from http://www.lexisnexis.com

Smith, R. (1994, March 18).Art in review. The New York Times. Retrieved from http://www.lexisnexis.com

Smith, R. S. (2005, November 19).Conceptual art packs critical punch. The Star Phoenix. Retrieved from http://www.lexisnexis.com

The Arts In Every Classroom-Arts Integrations. (n.d.). Comprehensive Arts Education. Retrieved from http://www.learner.org

Marcel Duchamp

'Fountain' 1917

http://www.marcelduchamp.net/news.php?id=229

Barbara Kruger

'Face It!' 2007

http://www.arthistoryarchive.com/arthistory/feminist/images/BarbaraKruger-Face-It-Green-2007.jpg