Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow Conceptual Art: Set work beside statement and order everything by the record, not by drama
- Type
- Set in Conceptual Art's manner (Plain office grade type presenting the definition exactly as written), and let Guerrilla Television's lettering (State place, time, and speaker with coarse electronic type or cards; never borrow a station identity to fake authority) appear only where you want the eye to catch.
- Material
- Ground in Conceptual Art's material (Cheap carriers such as photostats, typescript, index cards and wall writing); bring in exactly one thing from Guerrilla Television (Retain portable-video resolution, location sound, and tape loss instead of applying one uniform malfunction filter).
- Colour
- Build on #efede7, #898986, #1d1d1c and admit one accent from #15191B, #C6D6C5, #D5533F.
Where they fight
These are already listed as related entries, so the join should come easily.
Caution
- Conceptual Art Styling the surface to look administrative without a rule or question anyone can test leaves only curt graphic design. Change what counts as the work, including structure, site and the relation to the audience.
- Guerrilla Television VHS noise alone does not create counter-media. Name the makers, community, circulation, and consent, and do not imitate real stations or emergency broadcasts.
Image prompt
Produce four original images that take their structure from Conceptual Art (style, mid-1960s–1970s) and their accent from Guerrilla Television (style, late 1960s–1980s). ## What to make Make the kind of thing Conceptual Art exists for: exhibitions or research presentations that show procedure and definition instead of a finished object, or participatory projects where published rules let other people carry out the work. Choose one subject and hold it across all four. ## Structure comes from Conceptual Art - Words and definitions - Instructions and rules - Documentary photographs - Dematerialization Composition: Set work beside statement and order everything by the record, not by drama. Type and lettering: Plain office grade type presenting the definition exactly as written. ## Accent comes from Guerrilla Television, used sparingly - Low-resolution portable video, trails, clipping, and dropouts - Long handheld records embedded in events - Handwritten cards, coarse electronic type, and direct time or place labels - Split screens, feedback, and reshooting that dismantle broadcast images Let one material quality come from it: Retain portable-video resolution, location sound, and tape loss instead of applying one uniform malfunction filter. ## Colour and feeling Build the ground on #efede7, carry the structure in #898986 and #1d1d1c, and let a single accent come from #D5533F. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: rebellion, trust, calm, intimacy, technique. ## What goes wrong - Conceptual Art: Styling the surface to look administrative without a rule or question anyone can test leaves only curt graphic design. Change what counts as the work, including structure, site and the relation to the audience. - Guerrilla Television: VHS noise alone does not create counter-media. Name the makers, community, circulation, and consent, and do not imitate real stations or emergency broadcasts. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- Conceptual Art mid-1960s–1970s / Style / Postwar American Art
Puts the idea at the center of the work and presents it through words, definitions, rules, documentation and placement, caring little for finish as an object.
- Guerrilla Television late 1960s–1980s / Style / Experimental Film
A media movement in which small collectives used portable video to oppose broadcast authority and one-way communication, recording demonstrations, communities, and institutions for rapid editing and alternative circulation. Low resolution, handheld access, feedback, direct titles, and multiple viewpoints became its language.
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