Adrian Piper

Bowles John P. Bowles

Description

In 1972 the artist Adrian Piper began periodically dressing as a persona called the Mythic Being, striding the streets of New York in a mustache, Afro wig, and mirrored sunglasses with a cigar in the corner of her mouth. Her Mythic Being performances critically engaged with popular representations of race, gender, sexuality, and class; they challenged viewers to accept personal responsibility for xenophobia and discrimination and the conditions that allowed them to persist. Piper's work confronts viewers and forces them to reconsider assumptions about the social construction of identity. Adrian Piper: Race, Gender, and Embodiment is an in-depth analysis of this pioneering artist's work, illustrated with more than ninety images, including twenty-one in color.Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant's philosophy. Drawing on those conversations, Bowles locates Piper's work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper's work is ultimately about our responsibility for the world in which we live.

Informations

• Publié par: Duke University Press
• Date de parution: 14 février 2011
• Nombre de lectures: 0
• EAN13: 9780822393733
• Langue: English
• Poids de l'ouvrage: 9 Mo

Extrait

Adrian Piper

Adrian Piper

racE, gENdEr , aNd EmbOdImENt

John P. Bowles

Duke UniveRsiTy PRess DuRhàM àn Lonon 2011

© 2011 Duke UniveRsiTy PRess

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Contents

ïllusTRàTions

ACknowleGMenTs

INtrOdûctION ARiàn PipeR’s PeRfoRMànCe of àCe àn The oRàl QuesTion of àCisM

Section 1 1965 –1970

tE aradOX OF tE bacK WOmaN cONcEtûa artIŝt

1. ÇonTinGenT àn UniveRsàl: ARiàn PipeR àn The iniMàlisT ïeàl

2. HypoThesis: oeRnisM àn The oMàn ARTisT’s STuio

Section 2 1970 –1975

ErŝONa OItIcŝ aNd ErFOrmaNcE art

3. ày 1970: ART àn ACTivisM

4. ÇàTàlysis: eMinisT ART àn ÉxpeRienCe

5.Food for te Spirit: RànsCenenCe àn DesiRe

6. “ACTinG Like à àn”: e yThiC BeinG àn BlàCk eMinisM

cONcûŝION e yThiC BeinG àn The AesTheTiCs of DiReCT ARess

oTes

BilioGRàphy

ïnex

vii

xi

1

33

69

125

162

205

229

257

263

299

319

Illustrations

atEŝ 1. ARiàn PipeR,he Mytic Being: I/You (Her), 1, 1974. 2. ARiàn PipeR,he Mytic Being: Cruising Wite Women #1, 1975. 3. ARiàn PipeR,Self-Portrait as a ice Wite Lady, 1995. 4.1. ARiàn PipeR,Uta-Manattan Transfer #1, 1968.

4.2. ARiàn PipeR,Uta-Manattan Transfer #2, 1968. 5. ARiàn PipeR,Untitled Map/Circle(eTàil), 1969. 6. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe-ïnniTy PieCes (eTàil), 1969. 7. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe-ïnniTy PieCes (eTàil), 1969. 8. ARiàn PipeR,Hypotesis: Situation #6(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 9. ARiàn PipeR,Hypotesis: Situation #11(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 10. ARiàn PipeR,Hypotesis: Situation #15(eTàil), ConCeive 1969, exeCuTe 1969; essày CoMpose 1969.

11.1. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.2. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.3. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.4. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.5. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.6. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.7. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.8. ARiàn PipeR,Meat into Meat(eTàil), 1968.

11.9. ARiàn PipeR,Meat into Meat(eTàil), 1968.

12. ARiàn PipeR,Hypotesis: Situation #9(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

13. ÉleànoR AnTin, “PoRTRàiTs of ÉiGhT ew YoRk oMen,” 1970.

14. ARiàn PipeR,Hypotesis: Situation #14, ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

15. ARiàn PipeR,Food for te Spirit(eTàil), 1971.

16. ARiàn PipeR,Food for te Spirit(eTàil), 1971.

FIgûrEŝ 1. ARiàn PipeR,he Mytic Being: I/You (Her), 5, 1974. 2. ARiàn PipeR,he Mytic Being: I/You (Her), 8, 1974. 3. ARiàn PipeR,he Mytic Being: I/You (Her), 10, 1974. 4. ARiàn PipeR,he Mytic Being: I Embody, 1975. 5. ARiàn PipeR,Cornered, 1988. 6. ARiàn PipeR,Self-Portrait Exaggerating My egroid Features, 1981. 7. ARiàn PipeR,Political Self-Portrait #2 (Race), 1978–80. 8. ARiàn PipeR, unTiTle pRojeCT foR0 to 9, JànuàRy 1969. 9. ARiàn PipeR,Drawings about Paper and Writings about Words #33, 1967. 10.1. ARiàn PipeR,Untitled Constructions, 1967.

10.2. ARiàn PipeR,Untitled Constructions, 1967.

11. ARiàn PipeR,ine-Part Floating Square, 1967. 12. Sol LeiTT,46 3-Part Variations on 3 Dierent Kinds of Cubes, 1967. 13. ARiàn PipeR,Sixteen Permutations of a Planar Analysis of a Square (eTàil), 1968. 14. ARiàn PipeR,Parallel Grid Proposal for Dugway Proving Grounds (eTàil), 1968. 15.1. ARiàn PipeR,hree Untitled Projects(eTàil), 1969. 15.2. ARiàn PipeR,hree Untitled Projects(eTàil), 1969. 16. ARiàn PipeR,Untitled Map/Circle(eTàil), 1969. 17.1. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe- ïnniTy PieCes (eTàil), 1969. 17.2. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe- ïnniTy PieCes (eTàil), 1969.

v i i i  Illustrations

3 4 5 6 9 17 18 22 41 43 43 44 45

45

54 60 61 62

63

63

17.3. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe- ïnniTy PieCes (eTàil), 1969. 17.4. ARiàn PipeR,Untitled Map WorkfRoM ine AsTRàCT SpàCe-iMe- ïnniTy PieCes (eTàil), 1969. 18. ARiàn PipeR, pReliMinàRy RàfT foR heR unTiTle sTàTeMenT of wiThRàwàl fRoM “ÇonCepTuàl ART àn ÇonCepTuàl AspeCTs,” 1970. 19. ARiàn PipeR,Hypotesis: Situation #6(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 20.1. ARiàn PipeR,Hypotesis: Situation #5(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

20.2. ARiàn PipeR,Hypotesis: Situation #5(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

21. ARiàn PipeR,Hypotesis: Situation #11(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

22. ARiàn PipeR,Hypotesis: Situation #15(eTàil), ConCeive 1969, exeCuTe 1969; essày CoMpose 1969.

23.1. ARiàn PipeR,Hypotesis: Situation #4(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

23.2. ARiàn PipeR,Hypotesis: Situation #4(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

24. ARiàn PipeR,Hypotesis: Situation #9(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

25.1. ARiàn PipeR,Hypotesis: Situation #10(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

25.2. ARiàn PipeR,Hypotesis: Situation #10(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969.

26. àRThà osleR,Red Stripe Kitcen, fRoMBringing te War Back Home: House Beautiful, 1967–72, pRinTe eàRly 1990s. 27. ARiàn PipeR,Hypotesis: Situation #5(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 28.1. ARiàn PipeR,Hypotesis: Situation #7(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 28.2. ARiàn PipeR,Hypotesis: Situation #7(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 29. ARiàn PipeR,Hypotesis: Situation #14(eTàil), ConCeive 1968, exeCuTe 1969; essày CoMpose 1969. 30. ARiàn PipeR,Area Relocation #2, 1969. 31. ARiàn PipeR,Untitled(eTàil),0 to 9(July 1969).

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Illustrations i x