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The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle

The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle Art and Language. Blurting, 1973. Index cards with subject headings and cross-references annotated by Michael Corris. Detail. Courtesy Getty Research Institute Special Collections and Michael Corris. 60 doi:10.1162/GREY_a_00224 The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle JACOB STEWART-HALEVY One day in 1970 the conceptual artist Adrian Piper, sporting a shirt streaked with sticky paint, walked into the Midtown Manhattan Macy’s, ostensibly to shop for gloves and sunglasses. The following year, she returned to the department store and entered the bathroom, where she pulled out a comb from a purse filled with ketchup. These “works” were part of her Catalysis Series, an intermittent project that involved wandering the city and engag- ing in all manner of situational improprieties. As outlandish as the routines may have seemed to passers-by, they would have resonated with an emerg- ing field of dissident social-scientific inquiry: pragmatics. If Piper had walked through the same Macy’s in the summer of 1963, she might well have passed the sociolinguist William Labov on her way from the acces- sories department to the bathroom. What was he doing there? Not exactly shopping for sunglasses either. He was busy conducting interviews with employees for an ethnography of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle

Grey Room : 34 – Sep 1, 2017

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References (5)

Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/GREY_a_00224
Publisher site
See Article on Publisher Site

Abstract

Art and Language. Blurting, 1973. Index cards with subject headings and cross-references annotated by Michael Corris. Detail. Courtesy Getty Research Institute Special Collections and Michael Corris. 60 doi:10.1162/GREY_a_00224 The Inductive Turn in Conceptual Art: Pragmatics in the 0–9 Circle JACOB STEWART-HALEVY One day in 1970 the conceptual artist Adrian Piper, sporting a shirt streaked with sticky paint, walked into the Midtown Manhattan Macy’s, ostensibly to shop for gloves and sunglasses. The following year, she returned to the department store and entered the bathroom, where she pulled out a comb from a purse filled with ketchup. These “works” were part of her Catalysis Series, an intermittent project that involved wandering the city and engag- ing in all manner of situational improprieties. As outlandish as the routines may have seemed to passers-by, they would have resonated with an emerg- ing field of dissident social-scientific inquiry: pragmatics. If Piper had walked through the same Macy’s in the summer of 1963, she might well have passed the sociolinguist William Labov on her way from the acces- sories department to the bathroom. What was he doing there? Not exactly shopping for sunglasses either. He was busy conducting interviews with employees for an ethnography of

Journal

Grey RoomMIT Press

Published: Sep 1, 2017

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