This thesis is an investigation into the nature of conceptual art and it's existence in an increasingly secluded and digitized cultural. The context of this paper exists within a realm of academia and attempts to provide an intellectual setting for the installation entitled #12. During this examination the dissertation does not limit itself to a particular medium, but rather attempts to analyze imaging and art from a perspective that takes into account the interactive dichotomies and paradoxical notions that, as a society we not only create but define our existence. As an artist I view the act prior to creation as harboring the greatest potential, and conceptual art as a continual investigation, which relies on the space of creation to give it context. In a literal sense this space is the physical place where the work is made manifest. However, the idea in the mind in this dissertation is viewed as an intermediary between the physical space and the nomadic nature of how work is presented. The extreme modes are important. They set up the typed word as an interactive moment where the viewer is allowed access and then denied the ability to interface with the concept. Fitting to the context of the thesis, the word exists within an abstract and at times ambiguous mode of articulation that serves to raise a larger question. There is no conspiracy or divulging of beliefs, however, the moment one is forced to reconcile the reality with the idealistic virtue of a situation creates conflict. Fundamentally, this document asserts that this conflict is an opportunity to remove our self from isolation and allow for solitude. And within this solitude is our greatest potential for a transformative moment of introspection.
Library of Congress Subject Headings
Installations (Art); Conceptual art; Art--Philosophy
Department, Program, or Center
School of Photographic Arts and Sciences (CIAS)
Frank, Michael, "#13" (2006). Thesis. Rochester Institute of Technology. Accessed from
RIT – Main Campus