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AH441 Summary 4.pdf - Nayeli Buffi 018289165 AH 441 The...

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Nayeli Buffi018289165AH 441The Synthetic Proposition Ch. 3Nizan Shaked, author and professor at CSULB, delves into a critical analysis about theshift within Conceptual art in chapter three of her book ‘The Synthetic Proposition’. Morespecifically, she examines how Conceptual art has transformed into being viewed as political, aview that is completely different from the original intention of conceptualism. It all ultimatelystarted in the 70s, a time when radicalism became prominent in response to wars, mistreatmentof marginalized groups, but also the discriminating structure of the museum industry. In essence,a need for political reform eventually became a tool that conceptual artists would use and applyin their work. Whether it was in film, text, painting, or other, the political movement thereforepushed the barriers within conceptualism. It presented a shift from ‘using art in order to redefineart’ to using politics to redefine art. More importantly, Shaked provides a plethora of key people
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Mary Kelly, Nizan Shaked

Unformatted text preview: art’ to using politics to redefine art. More importantly, Shaked provides a plethora of key people to focus on her argument: Mary Kelly, Adrian Piper, Martha Rosler, Lucy Lippard, and Silvia Kolbowski. As one can notice, all of these people are women, and Shaked made no mistake to prominently include them and did so in order to include feminism. For example, Mary Kelly’s artwork the Post-Partum Document depicted the relationship between a child and mother (a recurring theme in fine arts, ex. ‘madonna and child’) more specifically that of Kelly and her son. This 6-year process is a very powerful piece and produces multiple implications of systems that eventually connect to politics. Feminism was and is a very important social movement in response to politics, and without it, there wouldn’t be a shift within conceptualism or any art movements as a matter of fact....
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