Canadian partnership of conceptual artists working as performance artists, video artists, photographers and sculptors. It was formed in 1968 by A. A. Bronson [pseud. of Michael Tims] (b Vancouver, 1946), Felix Partz [pseud. of Ron Gabe] (b Winnipeg, 1945) and Jorge Zontal [pseud. of Jorge Saia] (b Parma, Italy, 1944; d Feb 1994). Influenced by semiotics and working in various media, they sought to examine and subvert social structures, taking particular interest in the products of mass culture. Their existence as a group, each with an assumed name, itself undermined the traditional notion of the solitary artist of genius. In 1972 they began publishing a quarterly journal, File, to publicize their current interests and work. In the 1970s they concentrated on beauty parades, starting in 1970 with the 1970 Miss General Idea Pageant, a performance at the Festival of Underground Theatre in Toronto that mocked the clichés surrounding the beauty parade, resulting in the nomination of Miss General Idea ...
(b Bethlehem, 1970).
Palestinian conceptual artist. Jacir’s works use a variety of media including film, photography, installation, performance, video, sound, sculpture and painting. Jacir was raised in Saudi Arabia and attended high school in Rome, Italy. She received her BA from the University of Dallas, Irving, TX in 1992, her MFA from the Memphis College of Art, Memphis, TN in 1994, and participated in the Whitney Independent Study Program from 1998 to 1999. She became a professor at the International Academy of Art, Palestine in Ramallah in 2007. Jacir’s conceptual works explore the physical and psychological effects of social and political displacement and exile, primarily how they affect the Palestinian community. Her work investigated the impact of Israeli action on the Palestinian people and countered representations of Palestinians in the press as primarily militant. Jacir often collaborated with members of the Palestinian community, both local and international, in the creation of her works....
(b Göttingen, 1968).
German conceptual artist. Jankowski studied at the Hochschule für Bildende Künste, Hamburg. Working in video, film, photography, installation, and performance, he reinserted ritual and its intrinsic mystery into the creative act and, subsequently, into the act of viewing a work of art. For the artist, ritual enabled the recognition of a specific world view and built a site where dialogue could take place between different people or different belief systems. Jankowski arrived at this point of recognition through his transformative use of collaboration, a circular method of creation, the utilization of magic or wonder, and humour. By making clear these devices in his art, Jankowski enabled the viewer to experience an ‘aha’ moment, or a climatic ‘Big Wow’, a phrase coined by Walt Disney to describe the high point on an amusement park ride or the big, concluding special effect in a movie. These approaches, together with Jankowski’s use of popular forms of mass culture, provided a critique of the detached nature of contemporary art production and positioned Jankowski as one of the most thought-provoking image makers of his time....
(b Ha Tien, Nov 16, 1968).
Vietnamese conceptual artist. Lê was born near the Cambodian border, but fled with his family when his hometown was invaded by the Khmer Rouge in 1979. Lê moved to Los Angeles and studied photography at the University of California, Santa Barbara and received his MFA from the School of Visual Arts, New York in 1992. In 1989, while at the University of California, Lê enrolled in a class on the Vietnam War (1955–75) that emphasized American hardship. This sparked Lê’s earliest public art project, Accountability, a series of posters that Lê put up on his college campus (reproduced in 1992 for Creative Time, New York, Washington, DC, and Los Angeles). These posters juxtaposed American media images of the Vietnam War with explicit pictures of Vietnamese suffering, accompanied by captions detailing the damage done to Vietnam. The desire to intervene in dominant perceptions of the Vietnam War propelled Lê for much of his artistic career....
Deborah A. Middleton
(b Fort Wayne, IN, Dec 6, 1941).
American conceptual artist. Recognized as one of the most influential, innovative, and provocative 20th century American artists, Nauman extended the media of sculpture, film, video, photography, and sound with performance and spatial explorations. Nauman attended the University of Wisconsin–Madison from 1960 to 1964, with early studies in mathematics and physics, which broadened to the study of art under Italo Scanga (1932–2001). He received a master’s degree in Fine Art from the University of California, Davis in 1966 under William T. Wiley, Robert Arneson, Frank Owen (b 1939), and Stephen Kaltenbach (b 1940) and honorary degrees from the San Francisco Art Institute (1989) and California Institute of Art (2000). In 1966 he began to teach at the San Francisco Art Institute.
Nauman’s interactive artworks and performances explore the syntactical nuances of language, text, and figurative gesture to create material culture and in-between places, which often result in a heightened sense of physical and emotional awareness. Nauman’s artistic explorations of spatial perception, bodily consciousness, physical and mental activity, and linguistic manipulation were demonstrated in interactive spatial compositions that accentuated various relationships between the human body and built environments. Early works included body castings and holographic self-images with subsequent works situating the viewer within their own mental and bodily perceptions. In ...
Mitra Monir Abbaspour
(b Chbanieh, June 15, 1967).
Lebanese conceptual artist, photographer, video and performance artist active also in America. Raad received his BFA in photography from the Rochester Institute of Technology in 1989, and completed his MA and PhD in Cultural and Visual Studies at the University of Rochester in 1993 and 1996, respectively, and in 2002 became an associate professor at the Cooper Union School in New York. History and its representation, narration, and memory are the central themes of Raad’s work. His experience of the Lebanese wars between 1975 and 1991 and their ongoing effects inform his inquiries into the methods of historical documents.
Raad began contending with narratives of the Lebanese wars in a series of short video documentaries that included Up to the South (1993)–a collaboration with Lebanese artist Jayce Salloum (b 1958)—and Missing Lebanese Wars (1996). Characteristic of his later practice, these videos critically employ a genre (documentary film) associated with factual reportage, foregrounding the relationship between subject and method of the work....
(b Groningen, July 1, 1942).
Dutch conceptual artist, film maker and television actor. He started to experiment with different coloured smoke in 1957. From the 1960s he was active as a Fluxus composer. In 1961 with Ger van Elk and the photographer Bob Wesdorp he founded the Adynamische Groep, which primarily reacted against post-war Expressionism. In 1962 he was given an exhibition at the Fodor Museum, Amsterdam, for which he covered the floor of a room with a 100 mm layer of salt and another with a few tonnes of broken glass. In pursuit of performance art, in 1963 he instigated a happening: he emptied a bottle of lemonade in the sea outside Petten, an action broadcast by Dutch television. In the same year he made a television programme about contemporary art (e.g. Fluxus, Pop art, Zero). Also in 1963 the fire brigade banned the performance of his Economic Concert (1958), which consisted of one single explosion on stage. Two years later he displayed a 5 m high purple chair in the Vondelpark in Amsterdam and organized an exhibition called ...