Page 260 - Art and Crafts of Bangladesh

CONCEPTUAL ART AND NEW TRENDS 257

mummified animals, furniture and even fig. 6.4 (top) Marcel
the performance-based participation of Duchamp, Fountain,
the artist or of persons employed by the 1917
artist. Consequently, art was elevated to
multidimensionality from the fig. 6.5 (bottom) Allan
customary frame-based two- Kaprow, The Court
dimensionality or altar-based three- Yard, 1962
dimensionality. At the same time,
classification of the visual arts into
painting, lithography, sculpture, etc.
became meaningless. One special
feature of this alternative trend is its
non-permanence. Therefore, after being
exhibited for a temporary period inside
or outside the gallery, these alternative
artworks usually survive only in
photographs and documentaries. Since the artist is acquainted beforehand with the
location and the surrounding of the planned presentation, these works are usually site-
specific. Depending on the characteristics, this alternative trend of the visual arts has
been given various names from the beginning, such as - happenings, earthwork,
performance, installation, etc. Though this alternative trend flourished in the west in the
1970s, it is actually of much earlier origin.
When, during World War I, various formal experimental works were being created
alongside representational works in the western modernist mainstream art, we could
also observe the signs of an intense anti-traditional liberal practice in the Dadaist art
movement. In addition to mocking solemn traditional art and social values, the
Dadaists particularly attempted to contribute to elevate the structure and consciousness
of art. Presentation of ready-mades such as Marcel Duchamp's Fountain, a urinal
signed R. Mutt, in the exhibition of American Society of Independent Art
in 1917 can be identified as the examples of the beginning of the
alternative consciousness in North American art trends (fig.6.4). World
War II changed the center of world art just as it changed the center of
global political leadership. The mainstream crossed the Atlantic. North
America acquired the leading role in world art. Under American
leadership, Abstract Expressionism became the leading movement in world
art. By organizing Abstract Expressionist painting exhibitions in eight
cities of Europe, the Museum of Modern Art (MOMA) of New York
attempted to establish it as the art of the new era. However, by that time,
the alternative trend had already started flourishing in the west.
The performance-based ‘happening’ by Allan Kaprow titled Court Yard in
the premises of Hotel Miles in New York gave rise to controversies
(fig.6.5). Concern was raised whether the introduction of performance into