Fragmented Documents: Works by Lorna Simpson, Carrie Mae Weems, and Willie Robert Middlebrook at The Art Institute of Chicago

1999 ◽  
Vol 24 (2) ◽  
pp. 244 ◽  
Author(s):  
Cherise Smith
Keyword(s):  
Lorna Simpson

Introduction

2017 ◽  
Author(s):  
Nizan Shaked
Keyword(s):  
Civil Rights ◽  
Identity Politics ◽  
Conceptual Art ◽  
Gay Liberation ◽  
Political Issues ◽  
Multiple Identity ◽  
Lorna Simpson ◽  
The 1960S ◽  
The One ◽  
Definition Of

The introduction addresses two intersecting trajectories in American art between the late 1960s and the early twenty-first-century century. On the one hand, it traces the ways in which disciplinary Conceptual Art, with a capital “C”, expanded into the diverse set of practices that have been characterised generally as conceptualism. On the other hand, it shows how the expansion of a critical conceptualism has been strongly informed by the turbulent rights-based politics of the 1960s. Initially, first generation Conceptual artists responded to preceding art movements within disciplinary boundaries, examining the definition of art itself and engaging abstract concerns. Artists then applied the basic principles of Conceptual Art to address a range of social and political issues. This development reflects the influence of Civil Rights, Black Power, the student movement, the anti-war movement, second wave feminism, and the gay liberation movement. Central in the American context, the multiple identity-based mobilisations that came to be known as “identity politics” were further articulated in the 1970s. The artists addressed in this book: Adrian Piper, Joseph Kosuth, David Hammons, Renée Green, Mary Kelly, Martha Rosler, Silvia Kolbowski, Daniel Joseph Martinez, Lorna Simpson, Andrea Fraser, Hans Haacke, and Charles Gaines expanded the propositions of Conceptual Art.

Uncanny dissonance: The work of Lorna Simpson

Third Text ◽  
1993 ◽  
Vol 7 (22) ◽  
pp. 27-31 ◽  
Author(s):  
Coco Fusco
Keyword(s):  
Lorna Simpson

Lorna Simpson

2014 ◽  
Vol 51 (09) ◽  
pp. 51-4828-51-4828 ◽  
Keyword(s):  
Lorna Simpson

The political referent in debate: identity, difference, representation

2017 ◽  
Author(s):  
Nizan Shaked
Keyword(s):  
Identity Politics ◽  
Political Art ◽  
Political Strategy ◽  
Political Issues ◽  
The Social ◽  
Lorna Simpson ◽  
Constructivist Approaches ◽  
Key Terms ◽  
Linguistic Structures

This chapter offers a specific set of distinctions made in the debates about political art in the 1980s and 1990s by observing a constellation of anthologies, symposia, and exhibitions as a backdrop to understanding the curatorial agenda and reception of the 1993 Whitney Biennial for American Art, as well as a comprehensive examination of the exhibition contributions of Daniel Joseph Martinez, Andrea Fraser, and Lorna Simpson. The 1993 Biennial provides an ideal case study to examine the representation of socio-political issues in art, as it consolidated perspectives on two key terms for the later part of the twentieth century: identity politics and multiculturalism. A for-or-against debate gives way to understanding identity politics and multiculturalism as modes of describing a historical stage and/or a political strategy. Many artists concerned with these frameworks sought ways of showing how identities worked, not what they looked like. Significant in this respect was the landmark exhibition Difference: On Representation and Sexuality (1985), which highlighted a set of constructivist approaches to the formation of subjectivity and the subject, underscoring the social, ideological, psychological, economic, and linguistic structures of identity over essentialist definitions reliant upon notions of inherent communality. Silvia Kolbowski’s Model Pleasure I-VIII 1982-1984 (1982-84), included in Difference, is discussed.

Lorna Simpson

2006 ◽  
Vol 44 (03) ◽  
pp. 44-1348-44-1348
Keyword(s):  
Lorna Simpson
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