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Conceptualism and the political referent in contemporary art

This book examines the impact of Civil Rights, Black Power, the student, feminist and sexual-liberty movements on conceptualism and its legacies in the United States between the late 1960s and the 1990s. It focuses on the turn to political reference in practices originally concerned with abstract ideas. The book traces key strategies in contemporary art to the reciprocal influences of conceptualism and identity politics. The central concept is a reversal of the qualitative assessment made by artist and theorist Joseph Kosuth in 1969. The book overviews the 1960s-1970s shift from disciplinary-based Conceptual Art to an interdisciplinary conceptualism, crediting the influence of contemporaneous politics dominated by identity and issue-based politics. It offers a survey of Adrian Piper's early work, her analytic conceptual investigations, and her transition to a synthetic mode of working with explicit political reference. The book explores how Conceptual Art is political art, analysing several works by synthetic proposition artists. It then surveys several key 1980s events and exhibitions before taking in depth the 1993 Whitney Biennial as its central case study for understanding the debates of the 1980s and the 1990s. Examining the ways in which Hans Haacke's work referenced political subject matter, simultaneously changing the conception of the processes and roles of art-making and art, the book argues against critics who regarded his work to be "about" politics. It also looks at the works of Charles Gaines, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, and Andrea Fraser.

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Nizan Shaked

Introduction movement in 2011 and the Black Lives Matter movement in 2012, reflecting the questions and possibilities of identity-based issues on the national and international stage, for which American identity politics is a historical model. The first chapter “Conceptual Art and identity politics,” overviews the 1960s–70s shift from disciplinary-based Conceptual Art to an interdisciplinary conceptualism, crediting the influence of contemporaneous politics dominated by identity and issue-based politics. I draw a distinction between how terms such as identity or

in The synthetic proposition
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An introduction
David Lambert
Peter Merriman

the interdisciplinary, conceptual and historical context for the volume, as well as introduce the chapters that follow. Movement, migration, travel and empire While this collection makes an argument for the value of an explicit and conceptually informed focus on mobility and immobility within work on empire, themes of movement, flow and circulation have not been absent from the field. A work like Valeska Huber’s Channelling Mobilities , with its multi-scalar analysis of the multiple forms of movement associated with the Suez Canal, was among the most explicit

in Empire and mobility in the long nineteenth century
Conceptualism as political art
Nizan Shaked

strategies were no exception. As Eve Meltzer showed: “just like conceptual artists, structuralist theorists—Louis Althusser, Roland Barthes, Michel Foucault, Jacques Lacan, and Claude Lévi-Strauss, the most memorable names among them—looked to systems and language for a revolution in signifying structures.”3 Conceptual Art’s transformation into a broad interdisciplinary conceptualism was also manifested in the turn from the analytic to the synthetic. This expansion was not a negation, but rather it mostly carried over the strategies of its analytic predecessor as an act of

in The synthetic proposition
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An Australian history

Contemporary women in the industrialised world describe becoming a mother as a life-changing event. Physiological and hormonal changes in the new mother’s body are accompanied by a shift in her close relationships and her place in wider society. Many new mothers feel that their very sense of self has changed through a deep psychological re-orientation. Most profoundly, new mothers in the early twenty-first century report feeling that they were unprepared for such a significant alteration in the fabric of their pre-maternal lives. In this ground-breaking book, Carla Pascoe Leahy brings the metamorphosis of new motherhood into new focus. Through oral history interviews, the book considers the extent to which becoming a mother is experienced as a transformation through examination of pregnancy, birth, childrearing, relationships, work and identity. By constructing a diverse sample of women who became mothers across the past seventy-five years, the book carefully analyses the ways in which the experience of new motherhood has changed within living memory. A fine-grained work of historical and contemporary research that draws upon interdisciplinary conceptual frameworks, the experiences of Australian mothers related here will have relevance across the Anglophone, industrialised world.

The Syrians in Armenia
Sossie Kasbarian

, Qamishli, Yacubiyah and Kobane. Many in the western Armenian diaspora consider the Syrian Armenian community their ‘mother community’ from where they emigrated to the US, to Canada and to South America, and have maintained both emotional and material links to Syria. 13 This chapter is based on a period of fieldwork interviews and participation/observation in Yerevan in November 2016, and is also informed by an earlier period of ethnographic research in 2001, as well as a short research trip in 2006. 14 It is situated within the interdisciplinary conceptual concerns

in Aid to Armenia
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The body after conceptualism
Nizan Shaked

of artistic authorship, persona, and identity, with the vantage point of poststructuralist, postcolonial, queer, and feminist theory, a “meta-self,” rooted in critical identity politics, part of a sweeping shift in attitude in many of the disciplines. Disciplinary and interdisciplinary conceptualism Conceptual Art is widely recognised as one of the most influential movements in contemporary art.6 By the time Conceptual Art of the 1960s expanded into conceptualism in the 1970s, artists and critics already considered its original claims to purity to be an endgame or

in The synthetic proposition