The synthetic proposition
Conceptualism as political art
in The synthetic proposition
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter takes a comparative look at several models of interdisciplinary conceptualist practices that responded critically to Conceptual Art's original claims. Conceptual Art's transformation into a broad interdisciplinary conceptualism was also manifested in the turn from the analytic to the synthetic. In Mary Kelly's case, as with other synthetic proposition artists, specific and material objects and signs were overlaid so as to bring in multiple types of signifying modes and tropes. Like several of her synthetic proposition contemporaries, Adrian Piper isolated components of the work of art believed until then to be inseparable. Martha Rosler, a "post-conceptual" artist, has been working within traditions and approaches to political art that were considered methodologically contradictory, made common by her insistence on specific and explicit subject matter, and a commitment to a Leftist critique of culture.

The synthetic proposition

Conceptualism and the political referent in contemporary art

Metrics

All Time Past Year Past 30 Days
Abstract Views 125 33 5
Full Text Views 33 6 0
PDF Downloads 16 4 0