Adrian Piper

John P. Bowles is Associate Professor of African American Art at the University of North Carolina, Chapel Hill. His articles and art criticism have appeared in Signs, American Art, Art Journal, Art in America, and Art Papers, among other publications.

• Illustrations viiAcknowledgments xiIntroduction: Adrian Piper's Performance of Race and the Moral Question of Racism 1Section I, 1965–1970The Paradox of the Black Woman Conceptual Artist 1. Contingent and Universal: Adrian Piper and the Minimalist Ideal 332. Hypothesis: Modernism and the Woman Artist's Studio 69Section II, 1970–1975Personal Politics and Performance Art 3. May 1970: Art and Activism 1254. Catalysis: Feminist Art and Experience 1625. Food for the Spirit: Transcendence and Desire 2056. "Acting Like a Man": The Mythic Being and Black Feminism 229Conclusion: The Mythic Being and the Aesthetics of Direct Address 257Notes 263Bibliography 299Index 319

“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 “John P. Bowles’s Adrian Piper: Race, Gender, and Embodiment is a groundbreaking, meticulously researched, and beautifully written text that challenges its readers to understand Adrian Piper’s early work in provocative new ways. Bowles forces us to re-evaluate our understanding of the histories of Conceptualism, Minimalism, feminism, and their intersections with the visual practices of African American artists.”-Steven Nelson, University of California, Los Angeles “An amount of scholarship and personal acquaintance makes this book an informative read that leaves one wanting to know more about Piper’s exemplary approach to the question of what it might mean to make political art.” - Maria Walsh (Art Monthly) “Bowles’s Adrian Piper: Race, Gender and Embodiment offers a detailed view of an artist dealing with the contingency of identity. . . . The inclusion of more than a decade of personal communication between Bowles and Piper make this a particularly fascinating study.” - Jordana Moore Saggese (CAA Reviews) “While there is much written about Piper, there are few volumes dedicated exclusively to such a complete investigation of her artistic career. It is a great addition to contemporary art scholarship, and is therefore recommended for any academic or research library that supports such pursuits.” - Melanie Emerson (ARLIS/NA Reviews) “With a well-organized index and bibliography, this monograph will be useful for specialists in contemporary African American art. An examination of Piper ’s sophisticated work and writing would make a challenging graduate seminar for students of art history or ethnic/women’s studies.” - Stacy E. Schultz (Woman's Art Journal) “By locating Piper’s art within various political, aesthetic, and philosophical contexts, this final chapter realizes some of the book’s best qualities by providing the reader with an understanding of the artwork’s political, historical, and aesthetic complexities without depriving the artist of her own. Moreover, Bowles’ multidisciplinary approach advances an engagement with an artist who undoubtedly should be listened to more.” - Sarah Jane Cervenak (Women & Performance) "[B]y placing Piper in a critical relationship to feminist and Black Arts practices and insisting on the importance of her Minimalist and Conceptual strategies, Bowles highlights the ways in which her work makes crucial connections between canonical 1960s and 1970s discourses. He thus positions his text to radically revise the field’s understanding of Piper’s overall project, as well as the importance of her early work." - Megan Driscoll (Art Journal)