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presentational art due to commodity culture's reliance on reproductive methods. Baudrillard's understanding of the post-modern centres on this notion of reproduction and the crisis, deriving from late capitalism, was symptomatic of an increasingly weak connection to reality- “authenticity”. In the place of Real ideas and objects, substituting originals, was a preference for a certain kind of simulation- a copies which had lost their originals altogether. Baudrillard labelled the new societical dominance of simulation “hyperreal”, a state where the copy is taken to be more real than the original.

结论:艺术是不可能争取真实性——Conclusions: Art's Impossible Struggle for Authenticity

Conceptual Artists have always tried to undermine capitalism. More so than ever before, artists in the late 1960s and early '70s saw their role as social mouthpiece, giving voice to ideas that attacked the limitations imposed by the economic autocracy of late capitalism. It was of course an impossible role to fulfil without contradiction. Artists aimed to overcome one set of limits- the social and political constrictions capitalism suggested, but at the same time their work had limits of its own. Art works had their own restrictions, assumptions, and biases, based on gender, class, and race. The art world was still laden with assumptions and unwritten rules about the kinds of ideas that were valid or appropriate for conceptual art, and most artists still had a vested interest in maintaining a sense of other worldly transcendence, maintaining a distance between the art object and the viewer. This is very clear from the writings of Sol LeWitt and Joseph Kosuth- both of whom were writers as well as conceptual artists. Concept is so important to artists like these that it becomes the only aspect of the work.

“When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair.”

Conceptual artists were interested in studying the growth of simulacra as a means of critique on the growth of commodity culture. Conceptual art favoured ideas to objects, however, adhering to ideas reflected more a modernist attitudes of universalism, the humanist “renaissance man” ideal, that opposed the post-modern insistence that viewers ought to participate in art making. In actual fact, conceptual art suffered from airs of elitism- generally considered to be too narrow or beyond the intellectual range of the public.

Conceptual art echoed modernism in many ways, then: it specified artistic “criteria” that, while obfuscated and draconian, were in reality extremely subjective. Its assertion that the work should be mentally stimulating recalled modernist ideas of transcendence far more than any real moralistic protest against the pressures presented by the capitalist society. It seems that even the most influential and persuasive movements in art history have struggled in vain to sustain an anti-capitalist position, but this may be less to do with unconviction or insincerity and more to do with the pervasion of capitalism- and the highly appealing idealism of the vision that opposes it.

参考书目——Bibliography

Art Strike Handbook, p. 38 as referenced on  Atkin, Douglas, “The C本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。