And Now for Something Completely Different: The Versatility of Conceptual Innovators / David W. Galenson.

By:

Galenson, David W

Contributor(s):

National Bureau of Economic Research

Material type: Text

TextSeries: Working Paper Series (National Bureau of Economic Research) ; no. w12034.Publication details: Cambridge, Mass. National Bureau of Economic Research 2006.Description: 1 online resource: illustrations (black and white)Subject(s):

J0 - General

Online resources:

Available additional physical forms:

Hardcopy version available to institutional subscribers

Abstract: Art scholars have puzzled over the behavior of Pablo Picasso, Gerhard Richter, and Sigmar Polke - important modern painters who have made frequent and abrupt changes of style. Yet in each case the scholars have assumed this behavior to be idiosyncratic, and have consequently failed to recognize its common basis. Versatility is in fact often a characteristic of conceptual innovators, whose ability to solve specific problems can free them to pursue new goals. This contrasts sharply with the practice of experimental artists, whose inability to achieve their goals often ties them to a single style for a whole career. The phenomenon of the conceptual innovator who produces diverse innovations is an important feature of twentieth-century art; Picasso was the prototype, and he was followed by a series of others, from Marcel Duchamp through Damien Hirst. Versatility has furthermore been a characteristic not only of modern conceptual painters, but also of conceptual innovators in other arts, and conceptual scholars. Recognizing the common basis of this behavior increases our understanding of human creativity.

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Item type	Home library	Collection	Call number	Status	Date due	Barcode	Item holds
Working Paper	Biblioteca Digital	Colección NBER	nber w12034 (Browse shelf(Opens below))	Not For Loan

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February 2006.

Art scholars have puzzled over the behavior of Pablo Picasso, Gerhard Richter, and Sigmar Polke - important modern painters who have made frequent and abrupt changes of style. Yet in each case the scholars have assumed this behavior to be idiosyncratic, and have consequently failed to recognize its common basis. Versatility is in fact often a characteristic of conceptual innovators, whose ability to solve specific problems can free them to pursue new goals. This contrasts sharply with the practice of experimental artists, whose inability to achieve their goals often ties them to a single style for a whole career. The phenomenon of the conceptual innovator who produces diverse innovations is an important feature of twentieth-century art; Picasso was the prototype, and he was followed by a series of others, from Marcel Duchamp through Damien Hirst. Versatility has furthermore been a characteristic not only of modern conceptual painters, but also of conceptual innovators in other arts, and conceptual scholars. Recognizing the common basis of this behavior increases our understanding of human creativity.