‘Some Relations between Conceptual and Performance Art’ - Frazer Ward, Summary

Frazer Ward’s article outlines the typical perceptions that surround conceptual and performance art and their similarities and differences to one another. Ward discusses that “Conceptual and Performance Art are engaged in a continuing dialogue, sometimes a conversation, sometimes an argument.”

Conceptual art is considered as a “work that emphasises the underlying conditions of aesthetic experiences.” Implying that conceptual thought comes before aesthetics and appearances. This questions the viewers reaction and acceptance of the practice and the respect it gives to language over the material form and sensory perception. Performance Art in comparison is directly addressed “as a form of art that happens at a particular time.” It is a physical act that is often presented in front of an audience in a specific location. Performance art is confined by its temporality and its strong connection to the physical. This highlights the notable difference between the two, performance art is “temporal,” where as conceptual art can be considered forever.

In the late 1960’s and 1970’s the inter-relationship between conceptual and performance art became evident, subsequently it is considered that performance art has ultimately challenged the foundations of conceptual art. Ward explores conceptual art within the artists and artworks of Ian Burns ‘Mirror Piece’ (1967), described as typically conceptual, and the ambiguously conceptual explored through Vito Acconci’s ‘Step Piece’ (1970).  “The juxtaposition helps to reveal the ambiguity imported into the category of the conceptual with elements of performance.” The two works reveal the artists intention of stimulating and challenging the traditional principles and exclusive qualities of visual arts. Ward questions that performance art has been regarded to have challenged some of the limitations of conceptual art, particularly its notion of rationality.

Reflecting on the predominant role performance has had within the art context, it becomes clear the dynamic elements performance has enforced onto conceptual art. Instead of observing them as separate entities, Ward provides us with the insight into the way that a concept can unite aesthetic and physical qualities. Considering how performance art can provoke conceptual branches, we gain understanding that they both depend equally upon each other.