Nizan Shaked
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Adrian Piper
The body after conceptualism
in The synthetic proposition
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This chapter looks at Adrian Piper's transition from Conceptual Art to conceptualism, in the context of Conceptual Art's canonical interpretations. It introduces previously unpublished evidence of Piper's distinct approach to the objectification of the self, to the attempt to isolate the "self" as part of an artistic experiment. Piper's work initially dialogued with a disciplinary Conceptual Art that extended the preoccupations of minimalism and its debate with modernist Abstract Expressionism. Piper wrote "Space, Time, Language, Form" as a statement about her work, from which excerpts appeared in a subsequent letter to Terry Atkinson and as an artwork in the suite Nineteen Concrete Space-Time-Infinity Pieces. Several of the works in the Concrete Infinity series outlined a set of procedures to make a work, while others were closer to concrete poetry, a practice that highlighted the materiality of words.

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The synthetic proposition

Conceptualism and the political referent in contemporary art


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