Australian Postwar Art & Film - Essay Example

? Australian Postwar Art and Film: Ian Burn and Conceptual Art Australian Postwar Art and Film: Ian Burn and Conceptual Art Burn’s Works as a part of International Conceptual Art Movement Ian Burn is a renowned artist from Anglo-Australia; in fact, he participated in international Conceptual art movement such as New York branch of Art and Language. Moreover, New York branch of Art and Language was a Conceptual art, which was collectively flourishing during the early 1970s. In this case, the art of the world can be assessed based on the international movement such the New York branch of collective publishers such as the Fox, Marxist. Members of this movement engaged in other activities such as composing, performing, recording, and videotaping humorous songs, which had revolutionary lyrics quoted from Marx. Nevertheless, Burn had achieved an artistic career prior to commencement of these movements; in fact, he had a profound involvement in conventional landscapes and self-portraits. In the beginning of 1965, he ventured into abstract and Minimalist painting. Therefore, this resulted to Conceptual art work and installations, which facilitated participation in the International Conceptual Art Movement. After disbarment of Art and Language movement from the international panorama, Burn seemed to withdraw from the International Conceptual Art Movement. Apparently, in 1977, he decided to go back to Australia, where he joined Australian labor movement via Union Media Services, which as a small company. During this period, he focused on organizing cultural programming for trade union members; exhibitions that show cased their art work, and authored associated essays and commentaries. Furthermore, he focused on publishing articles on Anglo-Australian landscape painting, while others were Albert Namatjira, who was Anboriginal artist of Aranda tribe (Burn and Stephen, 1992, 266). It is evident that Ian was a renowned writer in the realm of International Conceptual Art Movement and guardian of contemporary art; in fact, he served as unofficial mentor to numerous dissertations in esthetics and art history in various universities in Australia (Burn, 1991, 115). It is evident that Burn used his early painting to experiment with strategies was a way of separating perception from cognition. He offered conceptual systems aimed at facilitating perception of different things in various ways, which were in temporal and instinctive order. For instance, he segregated the square canvas into six, hard-edge, quasi-organic shapes in the Re-ordered Painting from 1965. In this painting, he used different colours on each of the six utensils; in fact, these organic shapes created a perception in a specific sequence. Therefore, Burn utilized cognitive analysis insentience as a way of redirecting the perception of the audience in their own situation. It is evident that Burn focuses on the theme of status and circumstance of self in his works; for instance, in Blue Reflex from 1966, he expresses functions that reflect the blue lacquered surface. Another example is Mirror Piece from 1967, which proved a question seeking to determine the meaning of self-reflection; in fact, this work entails a horizontal sequence consisting of thirteen framed pages of notes and diagrams (Burn, 1991, 118). Therefore, this led to a reflection and refraction of light, which was relative to mirror under various situations. However, he offers a sequence that ends with a large plain and framed mirror. Furthermore, he offers instinctive perceptual relations, which appears to be a mirror that offers a reflection to different people around the world. This work of art is framed in a gallery in a way that modified people’s perceptions regarding the art object. In this case, Burn’s work of art as a part of International Conceptual Art, by presenting a cognitive system, which is independent of the frames references, whereby this is considered disentanglement of the mirrors from the true meaning. Definition of Conceptual Art Ian Burn defines Conceptual art using two definitions; in the first definition he indicates that Conceptual art is a customary visual object, which offers a construction of argument regarding art. This definition depicts his ascription of the Conceptual art, whereby he considers it to be a style and a type of language. Moreover, in this definition, he argues that Conceptual art is a replacement of objects of art regarding art; in fact these arguments are considered to be a form of written or spoken language. Therefore, he considers Art and Language movement of that time to be a using Conceptual Art as a written language at its fundamental level. Burn’s second definition of Conceptual Art is in form of an inquiry regarding the nature of the concept "art"; in fact, he argues that it is an intentional way devised to revolutionize the functions of art. Through this definition, Burn presents two features of Conceptual Art, which include being self-reflexive, and being an element of promoting change. In the first attribute, he explains that Conceptual Art offers an assessment of the concepts of art itself, which involves a direct approach regarding the nature of disciplines that one is engaging in. Therefore, this definition has a self-conscious aspect; in fact, his argument entails a crucial aspect of self-awareness regarding their practice, situation, and production. In addition, this definition focuses on social, philosophical, and metaphysical implications of the production. Based on his second perspective of the attributes, Burn considers Conceptual Art to promote a change, which involves practical and social aspect in regard to his conception. In this case, his argument considers Conceptual Art as a way of changing the form of art based on its social and economical functions. Therefore, the Conceptual art has a specific style, which conflicts the earlier attributes of art; thus, it serves as a way of modifying the definition of art. However, there are other scholars, who made a contribution to define Conceptual Art such as Sol LeWitt, whereby he considered art as an idea or a concept that is a significant object that is realizable; in fact, this notion can be approached in different dimensions in order to understand. Apparently, understanding Conceptual art offers way perceiving, reading, analyzing, and writing things in a different way; in fact, it also offers a unique way of researching and documenting, describing and arguing these things. In this case, Conceptual Art integrates intellectual work and writing, which turns to be an artistic medium for visual artists, thereby refining their ideas. Moreover, the definition of Conceptual art requires can be comprehended in a wider account as it is presented by LeWitt; in fact, this can be compared to Burn’s arguments which constraints Conceptual Art as a form of language (LeWitt, 1967, 79). Analysis of the concepts of art presented by Burn; in fact, he indicates that there is a philosophical and metaphysical base of status. For instance, he presents ideas regarding Marx’s economic analysis regarding neoclassical economics and a conceptual analysis of Frege’s concepts (Burn, 1991, 114). Philosophical investigation during the nineteenth and twentieth century focused on self-reflexive components; thus, Conceptual Art requires assessment regarding intense traditions. Basically, Burn shows a significant level of commitment to Conceptual Art in various senses. Nevertheless, Conceptual art may have influenced Burn to focus in political reflection based on his own status as an artist, who was working in international scene. Moreover, there were increased chances that Conceptual Art would have influenced him to consequent political actions propagated through a reflection and dedication to effective social revolution. In this case, this was the things that were required for branding Conceptual Art; in fact, this is what was offered by Ian Burn. Art Relations to Specific Australian Concerns Burn takes Australian concerns with him as went back to Australia during 1970s; in fact, this was illustrated by curatorial work through Australian labour movement later in 1980s. During this period, he collaborated with other working people to offer various services and industrial jobs. In this case, he worked together with these people to produce art works in conventional medium in a broad range of styles. On the other hand, Ian Burn’s art served as a way of expressing practical concerns and demands of Australian workers to the management. For instance, Burn focused on established an exhibition referred to as "Working Art"; it was also referred to as "Art That Works" due to their effectiveness. Australian concerns were expressed through banners, posters and print publication, which was presented in a way that influenced the redirection and perception towards political art. In addition, Australian concerns focused on conventional mediums regarding association between personal situation and choices of medium. Nevertheless, it is evident that fundamental qualities of art in this exhibition are not dependant on any context of museums or the criteria of fine art. Focusing on the Australian concerns Burn realizes that there is a chance of prosperity, which is offered by the stance of the standard art-world criteria of value. On the other hand, there is a progressive conceptual detachment of his works of art from the environment based actual works that he presents. Burn addresses Australian concerns by focusing on the primary audience; instead, of the gallery-going audience. He also lives a life that does not resonate around art gallery, whereby he makes explicit application of independent gallery settings. Therefore, the principal concerns regarding his work were illustrated through Art and Language Movement; in fact, he portrayed ideas there transcended the art context. For instance, he engaged in a form of art practice, which was a way of re-introducing the new paradigm. It is evident that, Burn’s ideals in his practices were not privileges for an artist, being an individual creator, though he was able to meet the demands of being individually responsible and creative. Ian engaged in a practice with results based on vital labour movement; in fact, he focused on maintaining vitality in aesthetic basis, whereby he was expected to structurally participate in trade union process. Burn’s works of art in addressing specific Australian concerns surpasses realization of prior esthetic values, which he introduced (Burn, 1991, 125). He also had earlier works based on the theory of laden art object that was disentangling and distancing the object from the context of art. Moreover, he presents a stance that does not resonate around object; instead, it offers complete engagement. However, the extent to which these concerns were addressed depended on the workers who participated in producing this works of art, conditions under, which it was produced, and social, political consequences that were associated with producing them. Nonetheless, Burn had managed to establish an impersonal relationship with these workers as he addressed these concerns. Burn addresses various concerns through his participation in the working role in association to other worker artist. In this case, he utilizes the ability to legalize these works of art in a socially meaningful way in order to improve power based on conceptual analysis. Moreover, this analysis is focused on writing, and influencing his audience to rethink their association to the art. Nevertheless, there is a significant realization of numerous Conceptual Artists during the 1970s and 80s, who faced criticism on their products and commitment towards Conceptual Art. Conclusion The paper has focused on exploring association of Ian Burn’s works of art with International Conceptual Art Movement, and its relation to specific Australian concerns. The paper began with a section that exploring association of Burn’s works with International Conceptual Art Movement. The other section focused on explaining Burn’s perception towards definition of Conceptual Art and this is compared to definition by other scholars. Lastly, the paper explores the relations of Burn’s art of work to specific Australian concerns. This essay presents Conceptual Art to be radical in nature based on the need to abandon the market in order to actualize it. Apparently, maintaining commitment to Conceptual Art is not easy as indicated by the paper through analysis of Burn’s case. For instance, he had to remain true to his principles; in fact, he exploited direct political action media, which excluded practicing concepts. Therefore, there was a reestablishment of personal relations through conventional art media. Therefore, Ian Burn managed to execute his art as a way of addressing Australian concerns such as addressing problems. For instance, the essay explains that he extends the practices of Conceptual Art in the political realm, and he also utilized it for resolving problems. References Burn I., 1991, Dialogue: Writings in Art History, North Sydney, New South Wales, Allen and Unwin, pp. 115, 119 Burn I and Stephen A., 1992, Namatjira;s White Mask: A Partial Interpretation, in Jane Hardy, J.V.S. Megaw and M. Ruth Megaw, eds., The Heritage of Namatjira, Port Melbourne, Victoria, William Heinemann Australia, p. 266 Burn, I., 1991, The 1960s" Crisis and Aftermath, p. 118. Burn, I., 1991, "The 1960s: Crisis and Aftermath (or the memoirs of an ex-Conceptual artist)," in Burn, Dialogue, p. 114 Burn, I., 1991, "Conceptual Art as Art," in Burn, Dialogue, p. 125. Sol LeWitt, 1967, "Paragraphs on Conceptual Art", Artforum, vol. 5, no. 10; pp. 79-80 Read More