Despite the banality of the art definitions and classifications:

"CONCEPTUAL NET ART = CONCEPTUAL ART + NET ART"

 

CONCEPTUAL ART

Term conceptual in CONCEPTUAL NET ART refers to the conceptual art movement of the 1960´s and 1970´s. This movement also called idea art, emphasis significance of ideas embodied by a piece as more central to the work than the means used to create it.

Although the conceptual art as a movement emerged during the 1960´s and 1970´s, period when the members of Fluxus group and the other conceptual artists were strongly active, Marcel Duchamp and his “readymades” paved the way for conceptual art, providing the examples of prototypically conceptual works that defied categorization and could not be said to be art by virtue of their specific visual properties alone.

Conceptual art intended to convey an idea or a concept to the perceiver, rejecting the absolute importance and appreciation of a finished traditional art object such as a painting or a sculpture.

As Artist Sol LeWitt wrote in 1967, "the idea of concept is the most important aspect of the work...all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art..."

 

 

 

Conceptual art movement has revolutionized perception and practice of art; It has liberated art from purely aesthetic objects and redefined art as a vehicle for ideas; It introduced use of language, actions, processes and other existing cultural forms in art; It raised fundamental questions concerning its own (art) definition and the context in which it intervenes; It has most directly and radically challenged conception of the art work as an object of visual or more broadly spatial experience and pleasure.

Conceptual art works are sometimes produced in visible form, but they often exist only as descriptions of mental concepts or ideas. Significance of the conceptual art piece lies in its concept in its idea, in imaginable, emotional, social and cultural value of the conveyed and perceived message. Conceptual art as a movement opposes art establishment, commercialization of art, monopoly on creating art, monopoly on defining art, and commodity of art galleries.

Conceptual art piece should made people think. Not necessarily what the author or artist intended to make them think, but think on their own, making them experience the piece on their own way. It is art based on intellect rather then on eye. And that is one of the greatest virtues of conceptual art.



NET ART

Net art as an art form emerged in the early 90s. Similar to Conceptual Art, Net Art has being identified as a defiant art form which targeted the nepotism, materialism and aesthetic conformity of the gallery/museum/publishing power complex.

The globality of the net, its disregard for geographical distance and national boundaries, apparently made it possible for anyone, anywhere to become a (net) artist with a potentially massive audience with no need of institutional endorsement.

The immaterial nature of the medium and, the ease of maintaining anonymity within it, helped fuel dreams of an identity unconstrained by corporeality. For all these reasons and others, net art is celebrated as a radically democratizing art form; the ultimately horizontal plane on which everyone could be an artist, and identity could become another material of creative experiment.

With enormous expansion of internet, net art has evolved and art theorists are discussing the different directions and classifications of net art pieces. Conceptual net art as an art form should be considered.

Attributes of internet as a medium, its openness, wideness, accessibility and immaterial nature provide an ideal environment for rebirth of conceptual art in immaterial digital form.

 
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