Conceptual art in design

The purpose of the article is to consider the concept and determine its components, in the development and analysis of conceptual art in modern design. Methodology. The following methods are used: analysis, synthesis, as well as semiotic, hermeneutic, psychoanalytic. The scientific novelty of the work lies in the study of conceptual art on the examples of hairstyle design, hairdressing collections, and an attempt to comprehend the underlying contexts and meanings in the process of interpretation. Conclusions. Given the fact that modern design as a polymorphic entity with a dominant innovative component actualizes the activities of the new generation and acquires the features of intellectual comprehension of visual information, it can be argued that conceptual art is a priority in this direction. The concept as the initial concept of the conceptual is defined as a multilevel formation of content, the semantic meaning of the sign, which requires a process of interpretation. Through J. Dili's study of the theory of sign systems, the interpretation of the concept in the system of traditions, rituals, customs, which is perceived differently by different people due to belonging to different cultures, societies, etc., becomes clear. It is proved that the creation of the concept is based on processes based on individual practice, personal associations, and the main types of metaphorical and allegorical thinking that arise from the experience of not only cognitive but also substantive activity. The study of conceptual art on examples of hairstyle design, hairdressing collections shows the peculiarity of such works of art: they are not always functional and are not always defined as a utilitarian object, but the use of unusual color, shape, progression, silhouette lines, the fullness of space and volume with signs and symbols, require a multilevel semantic definition in the process of interpretation through intellectual comprehension of the inherent contexts and meanings. Keywords: conceptual art, concept, design, hairstyle.

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

Conceptual Art and Aesthetic Ideas

This paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively.

AN EVALUATION ON CONCEPTUAL SIGNIFICANCE IN ART

The concept of art, which has a spiritual meaning in its essence, is the transformation of the created concrete world into qualified objects in the artist's production with the method of imitation and repetition. This transformation makes it necessary to make sense of the concepts related to the object of art. In the historical process of art, getting rid of purely aesthetic concerns and starting to form the predominant side of thought causes the conceptual dimension of the object to be questioned. Some cornerstone works such as Marcel Duchamp's urinal, Robert Rauschenberg's white panels or Malevich's Black Square stand out by gaining value with the new conceptual meanings they add to art with their approaches in the background. In this study, some concepts in art will be examined and evaluations will be made through meaning and concept terminology. Keywords: Meaning in art, conceptual art, phenomenon in art

The Contemporary Art of the Nature Morte in the Age of Artificial Life Forms: The Metafictional Illusion of Life in Installation Art and Jeanette Winterson’s Frankissstein

Observing the artistic response to the illusional nature of artificial life forms in the field of installation art, contemporary writers often allude to conceptual artworks through ekphrastic means to “grasp the texture of the contemporary real” (Virilio 4) in a technologically “transformative moment” (Boxall 4). A “reality hunger” for the contemporary brings together a “burgeoning group of interrelated […] artists in a multitude of forms of media” (Shields 3) to experiment new forms across disciplines through ekphrasis, which “strikes to explode” the “stuffed package” of a culture “containable with its shaped word” (Krieger 233). In her essay “Art Objects” (1995), Jeanette Winterson shows her interest in contemporary conceptual art as she writes that “the true artist is interested in the art object as an art process” and establishing a connection to the future instead of being interested in the final product (12). Her definition of art coincides with that of conceptual art as it seeks to analyse “the ideas underlying the creation and reception of art” (Shanken 433), and thus takes on the framework of the meta-critical process from conceptual art with “the use of scientific concepts and technological media both to question their prescribed applications and to create new aesthetic models” (Shanken 434). Deriving from the artistic landscape of conceptual installation art and its interactions with science, Winterson borrows the subject of the nature morte and the metafictional framework to address the clashes between artificial life forms and the human civilisation by alluding to artworks such as those of Damien Hirst in her novel Frankissstein (2019) when writing about cryonic bodies: “It’s a little like an art installation in here isn’t it? Have you seen Damien Hirst’s pickled shark in a tank?” (106). Based on the interdisciplinary interrelations between installation art and contemporary literature, this paper will read the dialogue between Winterson’s ekphrastic subject of the nature morte in Frankissstein and contemporary installation art, including works of Hirst, Cai Guo-Qiang, and Guillaume Paris, as a response to the rise of artificial life forms with respect to their metafictional and illusional nature as AI will become “fully self-designing” (Winterson 73).