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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