Conceptual art referred to as conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of conceptual art, sometimes called installations, may be constructed by anyone by following a set of written instructions; this method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print: In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair; the idea becomes a machine. Tony Godfrey, author of Conceptual Art, asserts that conceptual art questions the nature of art, a notion that Joseph Kosuth elevated to a definition of art itself in his seminal, early manifesto of conceptual art, Art after Philosophy; the notion that art should examine its own nature was a potent aspect of the influential art critic Clement Greenberg's vision of Modern art during the 1950s.

With the emergence of an language-based art in the 1960s, conceptual artists such as Art & Language, Joseph Kosuth, Lawrence Weiner began a far more radical interrogation of art than was possible. One of the first and most important things they questioned was the common assumption that the role of the artist was to create special kinds of material objects. Through its association with the Young British Artists and the Turner Prize during the 1990s, in popular usage in the United Kingdom, "conceptual art" came to denote all contemporary art that does not practice the traditional skills of painting and sculpture, it could be said that one of the reasons why the term "conceptual art" has come to be associated with various contemporary practices far removed from its original aims and forms lies in the problem of defining the term itself. As the artist Mel Bochner suggested as early as 1970, in explaining why he does not like the epithet "conceptual", it is not always clear what "concept" refers to, it runs the risk of being confused with "intention".

Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as "conceptual" with an artist's "intention". The French artist Marcel Duchamp paved the way for the conceptualists, providing them with examples of prototypically conceptual works — the readymades, for instance; the most famous of Duchamp's readymades was Fountain, a standard urinal-basin signed by the artist with the pseudonym "R. Mutt", submitted for inclusion in the annual, un-juried exhibition of the Society of Independent Artists in New York; the artistic tradition does not see a commonplace object as art because it is not made by an artist or with any intention of being art, nor is it unique or hand-crafted. Duchamp's relevance and theoretical importance for future "conceptualists" was acknowledged by US artist Joseph Kosuth in his 1969 essay, Art after Philosophy, when he wrote: "All art is conceptual because art only exists conceptually". In 1956 the founder of Lettrism, Isidore Isou, developed the notion of a work of art which, by its nature, could never be created in reality, but which could provide aesthetic rewards by being contemplated intellectually.

This concept called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz – quantities which could not exist except conceptually. The current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term "concept art", coined by the artist Henry Flynt in his article bearing the term as its title, appeared in a proto-Fluxus publication An Anthology of Chance Operations. However, it assumed a different meaning when employed by Joseph Kosuth and by the English Art and Language group, who discarded the conventional art object in favour of a documented critical inquiry, that began in Art-Language The Journal of conceptual art in 1969, into the artist's social and psychological status. By the mid-1970s they had produced publications, performances and paintings to this end. In 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center.

Conceptual art emerged as a movement during the 1960s – in part as a reaction against formalism as articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium; those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define what kind of object a painting is: what makes it a painting and nothing else; as it is of the nature of paintings to be flat objects with canvas surfaces onto which colored pigment is applied, such things as figuration, 3-D perspective illusion and references to external subject matter were all found to be extraneous to the essence of painting, ought to be removed. Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg's kind of formalist Modernism.

Artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. However, by the en

Standing Here – Live in Colorado is a live album documenting Joe Cocker's performance in Denver, Colorado on May 2, 1981. By the time this concert was recorded, Joe Cocker was coming to the end of a two-and-a-half-year period during which he was without a recording contract, in some cases, back to playing clubs. During that period, Cocker recorded "I'm So Glad I'm Standing Here Today" and "This Old World's Too Funky For Me" for the Crusaders' album Standing Tall. Will Jennings' lyrics led to a Grammy nomination for best inspirational performance; the Grammy wasn't to be. It broadcast on national television across America, it triggered Cocker's comeback. The album, a two-CD set, has been released as Standing Here – Live in Denver and Live In America, it includes several live versions of Cocker's classics and unreleased "I Don't Want To Live Without Loving You" and the illusive "Sweet Forgiveness" which appeared on the Live in New York set. Additionally to that, a few live versions of songs from Luxury You Can Afford, at the time his latest album, such as "I Heard It Through The Grapevine" and Procol Harum's "A Whiter Shade of Pale".

The live concert included "Seven Days" and "Shocked", which were released in studio version a year on Sheffield Steel. Disc One Feelin' Alright - 4:27 Can't Say No - 3:00 Put out the light - 3:56 Look What you've done - 4:13 Whiter shade of pale - 6:01 Sweet little woman - 4:59 I don't wanna live without loving you - 5:22 Just like always - 4:00 Shocked - 4:11 Seven Days - 3:53Disc Two Jalous kind Hitchcock railway Watching the river flow You are so beautiful Sweet forgiveness With a little help from my friends The letter The moon is a harsh mistress I heard it through the grapevine Lead vocals - Joe Cocker Guitar - Cliff Goodwin Bass - Howard Hersh Drums- B. J. Wilson Keyboards - Loury Marshall Piano - Mitch Chakour Backing vocals - Maxine Green, Beverly Michael

The King Township Museum in King City, Canada is a local history museum for the township of King at 2920 King Rd. It was known as Kinghorn Museum, is located on what was once known as Kinghorn, now subsumed by King City, it is operated by the township Parks and Culture Department and is curated by Kathleen Fry. The Museum is affiliated with the Canadian Museums Association, the Canadian Heritage Information Network, the Virtual Museum of Canada; the museum consists of a building. This building was built in 1861 as the site of the Kinghorn School SS #23, it was updated and expanded in 1958 and again in 1963, purchased by the township in 1978. The township gave operational control of the building to the King Township Historical Society, which established the museum in 1979 and opened it in 1982; the museum was operated on a volunteer basis until 2001, when the township municipal government assumed control of the museum. The government established a management board, to which individuals are appointed by the township council.

In 2012, a 749 square feet addition was built by the real estate development company Genview Homes, which leased it and used it as its sales office for a development adjacent to the museum grounds in exchange for repairing or upgrading damaged parts of the building. The flat, leaky roof was rebuilt as a peaked roof. Once vacated by Genview, the space may be used for various services, such as a lecture hall with a capacity of 60 to 80 guests. On the grounds of the 2.5 acre property owned by the museum are several heritage sites. The King Township Historical Society raised funds to acquire and move King Station from Black Creek Pioneer Village to the grounds in 1989, where it now fronts King Road, it was the original railway station building of Springhill, believed to be the oldest surviving railway station in Canada, built by the Ontario and Huron Railway in 1852 and first served passengers in 1853. The single-storey board and batten structure was in poor shape by and restoration began soon after to repair the damage.

It was painted green and grey after the initial restoration, is now painted cream yellow with green trim. It is the only surviving station building of the original Ontario and Huron Railway buildings; the other heritage building is the King Christian Church built in 1851 by the Children of Peace, a religious group active in Sharon from the 1810s to the 1890s. It was renamed to the King Emmanuel Baptist Church in 1931 and permanently closed in 1978, it was moved from its original location at Kettleby Road and Jane Street to the museum grounds in 1982. In August 2017, Laskay Hall was moved to the site from its original location in Laskay, it will be used for cultural programs such as art, music and theatre. A basement will be built for it, which will be used for storage by the museum and Arts Society King; the site contains a dredge built in the 1970s, used to clear the canals of the Holland Marsh until the 1990s, was obtained by the museum in 2001. The museum's collection contains over 1,800 artifacts associated with the township's history, such as books, clothing and other household items.

King Township Museum operates a variety of March break and summer camps, established an Art Camp and Puppet Theatre Camp in 2006. Since 2006, the museum has hosted Music at the Museum, a weekly concert showcasing local musical talent. Works of local and regional artists are exhibited by the museum; the museum conducts several annual events, including a trunk sale, a fundraising antique appraisal, an appreciation barbecue for its volunteers, a garden tea hosted by the Nobleton and King City Horticultural Society at the beginning of summer. It participates in Doors Open and the Arts Society of King studio tour, hosts Christmas and Halloween celebrations; the church may be rented for small weddings. One-time events hosted by the museum include a reenactment of the 1837 Upper Canada Rebellion, retracing the route of the rebels from Lloydtown to Toronto; the six-hour tour stopped at the rebel statue in Lloydtown, Gibson House in North York, Mackenzie House in Toronto. The most famous person associated with the museum is Walter Rolling, who taught at the schoolhouse for over 40 years.

The school was one room, but was expanded later. In the late 1970s, the school was converted into. In 2012, the museum board undertook a program to create a 5-10 year strategic business plan to replace the ad-hoc volunteer administration plan; as part of the project, physical accessibility to the museum will be improved and business hours extended. It will change the administrative structure to eliminate board appointments by the township council, replacing the board with a community museum board. In late 2011, the museum received a bequest of C$400,000. King Township Museum at the Township of King website