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Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work take some precedence over traditional Aesthetics and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s. The writer Eldritch Priest, specifically ties John Baldessari's piece Throwing four balls in the air to get a square (best of 36 tries) from 1973 (in which the artist attempted to do just that, photographing the results, and eventually selecting the best out of 36 tries, with 36 being the determining number as that is the standard number of shots on a roll of 35mm film) as an early example of post-conceptual art. It is now often connected to generative art and digital art production.
The idea of post-conceptual art was clearly articulated by Tricia Collins and Richard Milazzo in the early 1980s in New York City, when within their Collins & Milazzo Exhibitions they brought to prominence a new generation of conceptual artists through their copious writings and curatorial activity.[2] Art at the End of the Social : Rooseum catalogue It was their exhibitions and writings Effects : Magazine for New Art Theory, Neutral Trends I No. 3, Winter 1986 Effects : Magazine for New Art Theory, Semblance and Mediation No. 1 (Summer 1983) that originally fashioned the theoretical context for a new kind of neo (or post) conceptual art; one that argued simultaneously against Neo-Expressionism and The Pictures Generation.
British philosopher and theorist of conceptual art Peter Osborne makes the point that "post-conceptual art is not the name for a particular type of art so much as the historical-ontological condition for the production of contemporary art in general...." Osborne first noted that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9, 2010. Osborne's main thesis is that the convergence and mutual conditioning of historical transformations in the ontology of the artwork and the social relations of art space make contemporary art possible.
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