“I think our phase of conceptual art (very different from its phases in the 1910s and 1960s) provides a license for going a bit lax visually. Weak figuration in painting is often OK nowadays because conceptual art’s open-mindedness allows it to be; you see something that is weak as art but interesting as meaning, and you give it the thumbs-up.”
Matthew Collings writes on Chris Ofili, beauty and the interplay between conceptual and visual art.
“The visual in art is art is always philosophical. Nothing is visual in a void. To be interested in substantially visual art at this point in time doesn’t mean rejecting conceptual art in any real or serious way, just the label conceptual as it’s currently applied and the posturing that typically goes with it.”