» » Adrian Piper: Race, Gender, and Embodiment

Fb2 Adrian Piper: Race, Gender, and Embodiment ePub

by John P. Bowles

Category: History and Criticism
Subcategory: Photo and Art
Author: John P. Bowles
ISBN: 0822348969
ISBN13: 978-0822348962
Language: English
Publisher: Duke University Press Books (February 14, 2011)
Pages: 352
Fb2 eBook: 1568 kb
ePub eBook: 1538 kb
Digital formats: txt azw mbr lrf

Adrian Piper: Race, Gender, and Embodiment is an important book

Adrian Piper: Race, Gender, and Embodiment is an important book. John P. Bowles has much to say not only about Piper’s own artistic journey but also about how scholars have chosen to read the avant-garde creative production of the 1960s and 1970s, and whether or not one can ever escape the ‘burden of the flesh’ when one creates or interprets works of art. -Gwendolyn DuBois Shaw, author of Seeing. the Unspeakable: The Art of Kara Walker.

Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live. 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.

Adrian Piper: A Synthesis of Intuitions, 1965-2016, The Museum of Modern Art, New YorkBeginning with the Seventies: GLUT . a b Bowles, John Parish (January 1, 2011). Adrian Piper: Race, Gender, and Embodiment. Durham : Duke University Press.

Adrian Piper: A Synthesis of Intuitions, 1965-2016, The Museum of Modern Art, New YorkBeginning with the Seventies: GLUT, The Morris and Helen Belkin Art Gallery, Vancouver BC. 2018. Adrian Piper: The Mythic Being, MAMCO.

Adrian Piper, the conceptual artist and analytic philosopher, is almost as well known for .

Adrian Piper, the conceptual artist and analytic philosopher, is almost as well known for what she has stopped doing as for what she has done. By 1985, she had given up alcohol, meat and sex. In 2005, she took a leave of absence from her job at Wellesley, sold her home on Cape Cod and shipped all of her belongings to Germany.

Semantic Scholar extracted view of "Adrian Piper: race, gender, and embodiment" by Maria Walsh. oceedings{Walsh2011AdrianPR, title {Adrian Piper: race, gender, and embodiment}, author {Maria Walsh}, year {2011} }. Maria Walsh.

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

Adrian Piper: Deconstructing Race in the Indexical Present. Memory Marathon 2012: Adrian Piper. Bowles, John Parish (2011-01-01).

Adrian Piper: Deconstructing Race in the Indexical Present.

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.

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