Conceptual Art and Artistic Skill
"By adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials."
An important difference between conceptual art and more "traditional" forms of art-making goes to the question of artistic skill. Although it is often the case that skill in the handling of traditional media plays little role in conceptual art, it is difficult to argue that no skill is required to make conceptual works, or that skill is always absent from them. John Baldessari, for instance, has presented realist pictures that he commissioned professional sign-writers to paint; and many conceptual performance artists (e.g. Stelarc, Marina Abramovic) are technically accomplished performers and skilled manipulators of their own bodies. It is thus not so much an absence of skill or hostility toward tradition that defines conceptual art as an evident disregard for conventional, modern notions of authorial presence and individual artistic expression (or genius).
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“Entification begins at arm’s length; the points of condensation in the primordial conceptual scheme are things glimpsed, not glimpses.”
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“What art thou that usurp’st this time of night,
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“If a man is a good lawyer, a good physician, a good engineer ... he may be a fool in every other capacity. But no deficiency or mistake of judgment is forgiven to a woman ... and should she fail anywhere, if she has any scientific attainment, or artistic faculty, instead of standing her interest as an excuse, it is censured as an aggravation and offence.”
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“There are some occasions in which a man must tell half his secret, in order to conceal the rest; but there is seldom one in which a man should tell all. Great skill is necessary to know how far to go, and where to stop.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)