Integrated literature review write-up Examination of essay by Barbara Rose Barbara Rose was educated at Smith, Barnard, and Columbia. While stil teaching at Sarah Lawrence, she contributes as an editor to Artforum (an international monthly art magazine) and Art in America also another monthly magazine that focuses on contemporary art. The essay examines the use of simple forms to illustrate visual arts. ABC art was published in 1995 reviewing the progress of the simplistic art which began as cubism. Summary and outline The essay begins by looking at the artistic works of Malevich and Duchamp who attempted to use abstract expression from placing simple cuboids’ images on their painting while also using black and white colors for their tone and value. The use of common objects is elevated far from the custom which held that art must be complicated. The meaning of visual arts becomes the factual meaning about the presentation of subject matter which are the objects used. Repetition is identified as usual occurrence when art becomes simple such that contemporary artists almost develop similar art. As art is made simple it illustrates the obvious and it is thus self-evident. Apart from dancing where the demonstration disappears once it is shown the abstract expression of paintings and sculptures can be read all over again like a document. Art also shows irony and humor. This art that applies abstract expression, going against tradition of hidden forms and using black and white shades is referred to as the art of renunciation and negative art of denial. Abstract expressionism It began with the presentation of Malevich in 1913; œa black square on a white background recognized as the void. The custom of art was to have background that expresses what would be found in real view. By making the background empty and emphasizing by use of white color means the artist was aware of what he thought art should be- representing the obvious which they labeled œready made. It was followed by Duchamp with a standard metal bottle rack. œStandard means the rack was common and easy to identify as a bottle rack. œMore is less This is taken to mean by using common objects the artist is able to create an expression that is ordinary to the spectator’s sense. The viewer thus has time to focus on the different characteristics of the art other than wonder about the object. œInstead they turned to the static emptiness of Barnett Newman’s eloquent chromatic abstractions and to the sharp visual punning of Jasper’s object like flags and targets, mean the viewer searches for other properties from simple abstract expressions. This is followed by Professor Panofsky objective of common expressions is the factual meaning which œoversteps the pure formal perception. Art for ad’s sake This is the art that is created according to long-standing artistic standards. According to Reinhardt the antique art was œpreformed and premeditated, an academic routine and sacred procedure meaning the artists adhered to what they had learnt and sometimes presumed it to be linked to divinity. Though there is the component that using common objects and black color may be misinterpreted as less serious work. Repetition With simplicity comes the style of repetition which comes with artists employing the same objects and characteristics such as in œcubism that occurs in pictures of rooms and boxes. According to Merce Cunningham, repetition in dancing is very important since it is a moving visual art. In abstract presentations it can be used to emphasize same characteristics but from different pieces of work. Art is displayed as a document to be studied containing humor and irony; playing an ambiguous role in the society. For some like for Carl Andre are the ones that could be called scary for he had œmorbid interest in death scenes which could lead him to paint torture sites like electric chairs. I think therefore I art by McEvilley McEvilley was formerly head of the Art Criticism department at the School of visual arts and currently a visiting professor at Yale University. He has been a consistent publisher of monographs and essays on art in America. Summary Conceptual art though existed as part of the general presentations it was never recognized by distinction. The impasse in trying to identify the genre resulted in a pause for some period before the art was once again revived in the 1980s. The conceptual art presents the thoughts and imaginations of artists using aesthetics that would rather make them appear differentiated from real objects while they are derived from real environment. Conceptual art presents the sublime which has been recognized as the œvastness of nature. Conceptual art Despite several predictions about the future of the art; Rodchenko in 1921 and Griffith in 1915 as well as others who predicted that it will diminish then vanish happened in the opposite direction. Conceptual art has been increasing in number of participants. Conceptual art existed before 1960s as a variety of artworks which back then had not been identified as distinct enough to compose a genre. The identification of conceptual art was supported by essays the first by Henry Flynt in 1963 and others later by Terry Atkinson and Michael Baldwin. Later the art almost collapsed as a result of public interest due to conflicting ideas. With the rejuvenation of conceptual art as a separate genre, artist such as Mike Bidlo has engaged again to this form of art that was already part of his work. Conceptual art distinguishes itself by having a hidden expression which makes it different from sense events as it basically imaginations or œmind events. James Collins differentiates between œthings and theories, though Edmund Hosseri recognizes œthoughts and concepts as objects which are mental which can be expressed using aesthetics or individual styles. Styles are not recognized as much because they bear a disparity from the factual. There is the esthetic of the infinite where the artist visualizes thoughts and represents factual objects in a way that they seem far from the real/truth. When such art is presented then the viewer is able to œexperience the sublime and non-identification with the world or the common. The lines used usually demonstrate ruggedness or vagueness of human figures or objects which takes time for the viewer to see or visualize. The infinity concept is recognized for allowing artist to express the vastness of nature which is called the sublime by Edmund Burke. The deep thought and used language in conceptual art makes it be likened to philosophy or literature. What makes it to be compared to philosophy is the ability to link parts that will try to create a whole which is known as the conclusion. While trying to reduce the number of possibilities of interpretations, the artist has to shield the viewers’ perception to the intended/right conclusion. Conclusion The presence of text to support the image does not to be exact or œjustified just like the word œINRI above the figure of the crucified Christ. Conceptual work is known to go beyond the expected to predominant ambiguities. Duchamp’s œready made were of the concept to bring the realization and significance of esthetic feelings which are known to surprise the viewer or œconfront them with the unknown. Rawness, unaccountability, unpredictability, and œassault on the premises of linguistic and visual presentation is the correct way of practicing art. References Battcock, G., (1995). Minimal Art: a critical anthology. Los Angeles: University of California Press. Pp 278-295.