Author(s): Süleyman ÖZDER?N

The spiritual senses regarding the reason of the existence of the art always has a tendency to alter the concepts which are the object of the idea against the senses. The work of art that gains the existence of structure by the aesthetic concerns is the beginning, then this changes by the innovation added onto the philosophical concepts, and the content that is related to the creativity goes towards the philosophical approaches that are the principal areas of the concepts. The correlation which was created by the philosophical ideas between the art, concept and the sense first of all tries to build a set of senses between the outer World, the art and itself as a cognitive “thing”. In every stage where the modernism proceeds the senses that are needed to attribute to the art has caused to enter into the world of the concepts some more. In the context of these advances, in this article, the transition stage of the concepts that are defined by the artistic contents with the minimalism to the 3rd. dimension, the structure of the relationships which are set by these stages with the work of art will be tried to examine the matter of sense within the conceptual art. In this examination the work of art that belongs to the art and language will be taken as the basis of the development section in respect of the identification of the first few phases of the conceptual art and the causative links which are constituted by the work of art to the sense will be questioned particularly on the work of art.


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