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Adrian Piper |
Biographical Information
Adrian Margaret Smith Piper is Professor of Philosophy at Wellesley College. Trained at CCNY, the University of Heidelberg, and Harvard University, her principle publications are in metaethics and Kant's metaphysics. Her three-volume project on Kantian metaethics, Rationality and the Structure of the Self, for which she recently has been awarded NEH and Getty Distinguished Scholar grants, is nearing completion. Piper is also a conceptual artist whose work, in a variety of media, has focused on racism, racial stereotyping and xenophobia for three decades. Trained at the School of Visual Arts, she exhibits her work nationally and internationally, and her work is included in many important collections. She is the recipient of many awards and fellowships in both fields, and a conference on Piper's work in art and philosophy was held at New York University in October 1992.
Bibliography
BOOKS
Rationality and the Structure of the Self (three-volume project):
Volume 1: The Humean Conception.
Volume 2: Kant's Metaethics.
Volume 3: A Kantian Conception.
[Note: For more information on these volumes, click here.]
OUT OF ORDER, OUT OF SIGHT (Cambridge, Mass.: MIT Press, 1996):
Volume I: Selected Writings in Meta.Art 1968-1992;
Volume II: Selected Writings in Art Criticism 1967.-1992
Decide Who You Are (texts) (New York, N.Y.: Paula Cooper Gallery, 1992)
Colored People (London: Bookworks, 1991)
Talking to Myself: The Ongoing Autobiography of An Art Object (Bari, Italy: Marilena Bonomo, 1975; English.Italian)
Here and Now (1968; unique artist's book)
ARTICLES
"The Form of Self-Knowledge in Kant's Metaethics," in Diskursparadigma: Form. Ed. Georg Schöllhammer. (Vienna: Springer Verlag, 1997).
"Kant on the Objectivity of the Moral Law," in Reclaiming the History of Ethics: Essays for John Rawls. Ed. Andrews Reath, Christine M. Korsgaard, and Barbara Herman. (New York: Cambridge University Press, 1997).
"Making Sense of Value." Ethics 106 (Apr 1996): 525-537.
"Two Kinds of Discrimination." Yale Journal of Criticism 6 (1993): 25-74.
"Xenophobia and Kantian Rationalism." Philosophical Forum XXIV (Fall-Spr 1992-93): 188-232.
"Government Support for Unconventional Works of Art," in Culture and Democracy: Social and Ethical Issues in Public Support for the Arts and Humanities. Ed. Andrew Buchwalter. (Boulder: Westview Press, 1992).
"Impartiality, Compassion, and Modal Imagination." Ethics 101 (July 1991): 726-757.
"Seeing Things." Southern Journal of Philosophy XXIX (Supplement) (1990): 29-60.
"Higher-Order Discrimination," in Identity, Character and Morality. Ed. Amelie O. Rorty and Owen Flanagan. (Cambridge: MIT Press, 1990), pp. 285-309.
"Hume on Rational Final Ends." Philosophy Research Archives XIV (1988-89): 193-228.
Pseudorationality," in Perspectives on Self-Deception. Ed. Amelie Rorty and Brian McLaughlin. (University of California Press, 1988): 297-323.
"Personal Continuity and Instrumental Rationality in Rawls' Theory of Justice." Social Theory and Practice 13 (Spr 1987): 49-76.
"Moral Theory and Moral Alienation." The Journal of Philosophy LXXXIV (Feb 1987): 102-118.
"Instrumentalism, Objectivity, and Moral Justification." American Philosophial Quarterly 23 (Oct 1986): 373-381.
"Two Conceptions of the Self." Philosophical Studies 48 (Sept 1985): 173-197.
"Critical Hegemony and Aesthetic Acculturation." Nous 19 (1985): 29-40.
"The Rationality of Military Service," in Conscripts and Volunteers: Military Requirements, Social Values, and the All-Volunteer Force. Ed. Robert Fullinwider. (Rowman and Allenheld, 1983): 126-147.
"A Distinction Without a Difference." Midwest Studies in Philosophy VII (1982): 403-435.
"Property and the Limits of the Self." Political Theory 8 (Feb 1980): 39-64.
"Utility, Publicity, and Manipulation." Ethics 88 (April 1978): 189-206.
ARTICLES IN ART AND AESTHETICS
[Note: Several of these articles have been reprinted in other sources. If you would like an alternate publication, please contact the website editor.]
"Xenophobia and the Indexical Present: Lecture," "Catalysis III," "Catalysis IV," in Jan Cohen. Cruz, Ed., Disturbing the Peace: Radical Street Performance Around the World (New York, N.Y.: Routledge, 1998).
"Vanilla Nightmares #3, 6, 18 and 19," David Roediger, Ed. Black on White: Black Writers on What It Means to Be White (New York, N.Y.: Schocken Books, 1998).
"DECISIONS, DECISIONS (portfolio)," Grand St. 60: Paranoia (Vol. 15, No. 4; Spring 1997), 136.145.
"Vanilla Nightmares #9," in Homi K. Bhabha, "Queen's English," Artforum XXXV, 7 (March 1997), 25.
"Advice to Readers," (letter) Art in America 85, 4 (April 1997), 27.
"Forget It," Adrian Piper Gallery Guide, (A Bronx Museum of the Arts publication to accompany the exhibition titled Talk Back! The Community Responds to the Permanent Collection. One of a set of five, edition of 1000. Bronx, N.Y.: Bronx Museum of the Arts, 1997).
"Philip Morris' Artworld Fix," The Drama Review 40, 4 (T 152) (Winter 1996), 5.6.
"Withdrawal Clarified," (letter) Art in America 84, 4 (April 1996), 29.
"Dickinson's Charm," (letter), The New York Review of Books XLIII, 15 (October 3, 1996), 57.
"Ian Burn's Conceptualism," LIKE, 1 (October 1996), 42.53.
"Self.Portrait Exaggerating My Negroid Features," The Twentieth Century Art Book (New York: Phaidon, 1996), 396.
"Mortal Remains," Mortal Remains, ed. Ricardo Bloch and Don Celender (Minneapolis: Intermedia Arts Minnesota, 1996).
"Four Intruders plus Alarm Systems," "Safe," (monologues) in Feminism and Tradition in Aesthetics, Ed. Peggy Zeglin Brand and Carolyn Korsmeyer (University Park, Penn.: Penn State, 1995), 235-244.
"On 1980s Feminist Theorizing," October 71 (Winter 1995), 35.36.
"Decide Who You Are," Reframings: New American Feminist Photographers, Ed. Diane Neumaier (Philadelphia: Temple University Press, 1995)
Modern Art and Society, Ed. Maurice Berger (New York: HarperCollins, 1994). Cover
"Vanilla Nightmares #17" (cover), David Roediger, Towards the Abolition of Whiteness (New York: Verso, 1994)
"You Don't Want Me Here," Ik + De Ander (Amsterdam: Beurs van Berlage, 1994), 119.
"Political Self.Portrait #3," Selections from Talking to Myself: The Ongoing Autobiography of an Art Object; Notes on the Mythic Being; Political Self.Portraits #1, 2, 3; My Calling (Card) #1; Cornered; "Higher.Order Discrimination," in Voicing Today's Visions: Writings by Contemporary Women Artists, Ed. Mara Witzling (New York: Universe, 1994), 286-308.
"My Calling (Cards) #1 and 2," Long News in the Short Century 5 (1994), 86.87.
"The Logic of Modernism," Flash Art XXVI, 168, January/February 1993. 56-58, 118, 136.
"Two Kinds of Discrimination," Yale Journal of Criticism 6, 1 (1993), 25-74.
"Xenophobia and the Indexical Present II: Lecture," Place Position Presentation Public, Jan Van Eyck Akademie and the Authors CIP.Gegevens Koninklijke Bibliotheek, (Den Haag, Netherlands: 1993), 24, 136-157.
Introductory essay, New Observations 97: Color (September/October 1993), 2-4
"What's Art? (What's Not?)" The Washington Post, Sunday, October 24, 1993. G-6.
"On Louise Bourgeois," Louise Bourgeois (Washington, D.C.: The Corcoran Gallery, 1993).
"The Great War for Control of Reality," Ethics of Change: Women in the '90s - Sex, Power and Politics [with Patricia Ireland and Phyllis Schlafly], ed. Barbara J. Raines. The Proceedings of the February Forums, Volume VII (New Smyrna Beach: The Atlantic Center for the Arts, 1993), 95-161.
"Cornered: A Video Installation Project By Adrian Piper," Movement Research Performance Journal 4, (Winter/Spring 1992), 10
Artists of Conscience, Alternative Museum Publication, December 1991/January 1992, 65
"Art and Politics: A Pre-Election Symposium," Art In America, 10 (October 1992), 41.
"Government Support for Unconventional Works of Art," in Andrew Buchwalter, Ed. Culture and Democracy, Social and Ethical Issues in Public Support for the Arts and Humanities (Boulder: Westview Press, 1992).
"Passing for White, Passing for Black," Transition 58 (1992), 4-32.
"Untitled Statement," Reimaging America: A Voice of Dissent Project, Catalogue, (Philadelphia: Momenta Art Gallery, 1991)
"Vanilla Nightmares 1986-," Drawings, Catalogue, (John Weber Gallery, 1991), 34-35
"A Transition into Solipsism October 1971," The Political Arm, (New York, N.Y.: John Weber Gallery, 1991), 32-33
"Letter to the Editor," Artforum XXIX, 9, (May 1991), 27-28
"Aspekte des liberalen Dilemmas," Texte zur Kunst 1, Jahrgang Nr. 3, Summer 1991, 54-57
"Letter to the Editor: Angle Dangle," City Paper Xl, 29, July 19-25, 1991, 4
"Goodbye to Easy Listening" in Adrian Piper: Pretend (New York, N.Y.: John Weber Gallery, 1990).
"Brenson on Quality," Art Papers 15, 6, (November/December 1991), 68.73
"What it isn't #2," The City Paper Xl, 33, August 16-22, 1991, 4
"Adrian Piper," MOMA Members Quarterly, (New York, N.Y.: The Museum of Modern Art), (Fall 1991), 8
"The Triple Negation of Colored Women Affists," Next Generation Catalogue (Chapel Hill: University of North Carolina, 1990).
"The Joy of Marginality," Art Papers 14, 4 (July-August 1990), 12.13.
"Introduction to Epistemology," Real Life 20, (1990), 18-19
"Artist Statement," Words and Images With a Message, (catalogue to accompany exhibition at the Women's Studio Workshop, 1990)
"Xenophobia and the Individual Present," Cover, (September 1990), 14
"Letter to the Editor," Art in America, November, 1990, 39
"Xenophobia and the Indexical Present," and "Funk Lessons," Re-Imaging America: The Arts of Social Change, Ed. Mark O'Brien (Philadelphia: New Society Press, 1990).
"A Paradox of Conscience," The New Art Examiner 16, 8 (April 1989), 27-31.
"Comered," Balcon 4 (1989) 122-135.
"How can anybody want to wipe you out just for being different?" (Wonder Project) Artforum XXVI11, 10 (Summer 1989), 135
"On Conceptual Art," Flashart 14 3 (November/December 1988)
"That Was Then/This Is Now," [incorporating selections from "Form and Idea" (1968), "Concrete Space.Time.Infinity Piece" (1968), "Ways of Adverting One's Gaze" (1988), and "My Calling (Card) #1" (1986.88)], Flashart 143 (November/December 1988)
"A Tale of Avarice and Poverty," WhiteWalls 15, (Winter 1987), 70-81
"Flying," Adrian Piper: Reflections 1967-1987, (retrospective catalogue), (New York, N.Y.: The Alternative Museum, 1987).
"It's Not All Black and White," (Letters to the Editor), The Village Voice, June 9, 1987, 4, 6
"Who Is Safely White?," Women Artists News 12, 2, (June 1987), 6
"An Open Letter to Donald Kuspit," Real Life 17-18, (Winter 1987-88), 2-11
"Untitled Statement,"The Art of Memory/The Loss of History (New York: The New Museum of Contemporary Art, 1985), 34
"Critical Hegemony and the Division of Labor In Art," Position Paper for the Visual Arts Seminar on Art Crticism, September 19.20, 1983, Proceedings of the National Endowment for the Arts 1983 (Washington D.C.: The National Endowment for the Arts, 1984)
"Selected Funk Lessons: A Page Project by Adrian Piper," Artforum XXII, 5, (January 1984), 64
"Letter to Thomas McEvilley," Artforum XXII, 2 (October 1983), 2-3
"Ideology, Confrontation, and Political Self.Awareness: An Essay,"
"Performance and the Fetishism of the Art Object," Vanguard 10, 10, (December 1981/January 1982), 16-19.
"Untitled Art.Political Meditation," The Village Voice, (February 4, 1981), 62
"Food for the Spirit," High Performance 4, 1, (Spring 1981)
"It's Just Art,"
"Where's the Art?" Matrix 56: Adrian Piper, (Hartford, Conn.: Wadsworth Atheneum, 1980)
"Is the Alternative Space a True Alternative?" (compiled by Rudolph Baranik), Studio International 195, 990, (1980), 72
"Political Self.Reflections, Quly 1980)," Issue, (London: Institute of Contemporary Art, November 1980)
"Some Thoughts on the Political Character of This Situation," Art of Conscience, (Dayton, Ohio: Wright University, November 1980)
"Critics' Delight," in A Critical Assembling, Ed. Richard Kostelanetz, (New York, NY: Participation Project Foundation, 1979)
"Political Self - Portrait #2 (Race)," (text only), Heresies 2: Third World Women, 4, (1979), 37-38
"This Is Not A Documentation Of A Performance," Studio International 193, 987 (Summer 1978), 200-201
"The Mythic Being: I/You (Her)," in Individuals: Post-Movement Art, Ed. Alan Sondheim (New York, N.Y.: E.P. Dutton, 1976)
"Notes on the Mythic Being, I-II,"
"Some Reflective Surfaces," Sun and Moon 2 (Spring 1976), l8-20
"Untitled (1968), in Essaying Essays: Alternative Forms of Exposition, Ed. Richard Kostelanetz (New York, N.Y.: Out of London Press, 1976)
"Untitled (1969)," in "Cheap Art Utopia," Art.Rite 14, (Winter 1976-77), 11-12
"I Embody," in From The Center: Feminist Essays on Women's Art, by Lucy Lippard (New York, N.Y.: E.P. Dutbon, 1976)
"To Art (Reg. Intrans. V. )," The Fox 1, 1, (1975)
"A Proposal for Pricing Works of Art," The Fox 1, 2, (1975)
"A Political Statement," Art.Rite 6, (Summer 1974)
"Notes on the Mythic Being," Tri-Quarterly, (Winter 1974)
"Selections from 'An Ongoing Essay'," Six Years: The Dematerialization of the Art Object, Ed. Lucy Lippard, (New York, N.Y.: Praeger, 1973)
"Untitled, ___________________
"Withdrawal Statement (from New York Cultural Center),
"In Support of Meta.Art," Artforum Xll, 2 (October 1973), 79-81
"An Ongoing Essay," Art and Artists, (March 1972), 42-46.
"Untitled," Free Media Bulletin, (London: Ted Hawke Press, 1971), No. 12
"Three Models of Art Productions Systems," in Information (New York, N.Y.: The Museum of Modern Art, 1970)
"Groups," (collated by Lucy Lippard), Studio International, (March 1970), 95
"Untitled," 0 to 9 (New York, N.Y.: 0 to 9 Press, July 1969), No. 6
"Untitled," Streetworks (New York, N.Y.: 0 to 9 Press, July 1969)
"Untitled," Art Press (New York, N.Y.: Art Press, August 1969), No. 1
"Untitled," 0 to 9 (New York, N.Y.: 0 to 9 Press, December 1968), No. 5
VIDEOTAPES
Ur Madonna (1992; produced by Plus Ultra, Seville)
Please God (1991; produced by Videosphere)
What It's Like, What It Is #1, (video installation; produced by Videosphere/WPA)
What It's Like, What It Is #3, (video installation; produced by Videosphere/GWTV)
Out of the Corner, Video Installation (1990; edited by Dekart)
My Calling (Cards) #1 and #2: MetaPerformance 11(1988; edited by Videosphere)
Cornered, Video installation (1988; edited by Bob Boilen)
The Big Four-Oh, Video installation (1988; edited by Bob Boilen)
My Calling (Card) #1 A Double Metaperformance, (1987-88; edited by Videosphere)
Funk Lessons: A Metaperformance (1987; edited by VQ Productions)
My Calling (Cards) #1 and #2: A MetaPerformance 1(1987; edited by Bob Boilen)
Funk Lessons (1984; produced by Sam Samore), distributed by The Kitchen, New York, N.Y.
Some Reflective Surfaces (1975; edited by Bob Boilen, 1987)
The Mythic Being (1973) in Other Than Art's Sake, by Peter Kennedy
Secondary Sources
"Adrian Piper," The New Yorker, (October 29, 1990)
"Adrian Piper," Downtown Express 4, 23, (October 31, 1990)
"Adrian Piper," American Visions 6, 4, (August 1991), 12
"Adrian Piper," Dialogue, (November.December 1991), 35
"Adrian Piper's Black Box/White Box," Morning Edition WOSU Columbus, National Public Radio,(September 28, 1992)
"Adrian Piper," The Late Show, British Broadcasting Company 2 Television (January 1992)
"Adrian Piper," Today's Monitor, Monitor Television Quly 22, 1991)
"Adrian Piper," Around Town WETA. Washington, Public Broadcasting Service (February 11, 1993)
"Adrian Piper: Out of Order, Out of Sight," N. Paradoxa (Third Issue, May 1997; intemational online journal).
Altshuler, Bruce, The Avant.Garde in Exhibition: New Art in the 20th Century (New York: Harry N. Abrams, 1996), 239 and 272.
"The Artist," The Renaissance, Public Broadcasting Service (February 8, 1993)
"Art: Carl Andre/ Group Show," The New Yorker (March 22, 1993), 18
"Art: Piper Pulls Out of MOCA Show," Morning Report, The Los Angeles Times, Wednesday, November 22, 1995, F2
Adler, Sabine, 'Wer hat Angst vorm schwarzen Mann?" Ausstellung, Adrian Piper im Munchener Kunstverein, TZ M`inchen (October 7, 1992)
Aletti, Vince, "The Power of Words," The Village Voice, Quly 13, 1990)
Aletti, Vince, "Choices: The Political Arm," The Village Voice, (February 19, 1991)
Als, Hilton, "Spotlight: Adrian Piper," Flash Art 147, (Summer 1989), 142-3
Als, Hilton, "Adrian Piper's Ways of Seeing," The Village Voice, (September 25, 1990), Arts Section Cover and 55, 95
Als, Hilton, "Choices, Video: Adrian Piper," The Village Voice, (October 23, 1990), 124
Altschuler, Bruce, "Adrian Piper: Ideas Into Art," Art Journal 56, 4 (Winter 1997).
Anglesey, Zoe, "Putting Out the Word," Reflex, (September~ctober, 1991)
Appiah, Anthony, "Art Beat", The Village Voice Literary Supplement, (October 1992), 12
Aquin, Stephane, "Pour la Suite du Monde: Histoire a Suivre," Voir (June 4.10, 1992)
Art in America (Editorial Board), "1987 in Review," Art in America Annual 1988.89 76, 8 (August 1988), 53
Avgikos, Jan, "Adrian Piper: John Weber Gallery, Paula Cooper, Grey Art Gallery" Artforum (December 1992), p.91
Babha, Homi, "Focus: Black Male: Representations of Masculinity in Contemporary American Art,"Artforum (February 1995), 86.
Bailey, David A., "Adrian Piper: Aspects of the Liberal Dilemma," Frieze, October 1991, 14.15
Baker, Kenneth, "NY MOMA'S 'Dislocations' Sets Its Ties, Distance From High Modernism," San Francisco Chronicle, (December 8, 1991)
Baldauf, Anette, "Everybody is trying to look black," Die Musilbox (Vienna Radio, March 23,1993).
Baldauf, Anette, "Rassismus und Fremdenangst Gesprach mit der Konzeptkunstlerin und Philosophin Adrian Piper," Wiener Zeitung Kulturmagazin, (Freitag 30, 1993). 16
Barber, Bruce, "Performance as Social Intervention: Interview with Adrian Piper," Parachute, (Fall 1981) 25.28
Barber, Bruce, "Adrian Piper," Parachute (Summer 1981), 45 46
Barden, Lane, "Mechanisms of Marginalization: Theater of Refusal at UCI Fine Arts Gallery", Artweek, May 6, 1993, 22
Barnes, Lucinda, "Adrian Piper" in "In the Shadow of Storms: Art of the Postwar Era," Collective Vision: Creating a Contemporary Art Museum (Chicago: Museum of Contemporary Art, 1996), 100.101.
Barr, Barbara, "Reply to Piper," Women Artists News 12, 2 June 1987, 6 (also see two subsequent issues for responses to Barr from Alicia Faxon, May Stevens, Judith Wilson, Howardena Pindell, Josephine Withers)
Barrie, Lita, "Shedding her Male Identity," Artweek, (March 14, 1991)
Barrow, Claudia, "Adrian Piper: Space, Time, and Reference 1967.1970," in Adrian Piper, (catalogue to accompany exhibition at Ikon Gallery, Birmingham, England, September 1991)
Becker, Von Jochen, "Politische Selbst.Portraits: Adrian Piper im Munchener Kunstverein," Die Tageszeitung. Kultur, Berlin, (Saturday, November 21, 1992), 17
Berger, Maurice, "Black Skin, White Masks: Adrian Piper and the Politics of Viewing," in How Art Becomes History (New York: Harper Collins, 1992) and cover, frontispiece
Berger, Maurice, "The Gitique of Pure Racism: An Interview with Adrian Piper," Afterimage 18, 3 (October 1990), (cover), and 5.9
Berger, Maurice, "Displacements," in Ciphers of Identity (Catonsville: University of Maryland Baltimore County, 1993), 13.41.
Berger, Maurice, "Skowhegan Medal for Sculpture/Installation: Adrian Piper," Skowhegan FortyNinth Anniversary Awards (New York: Skowhegan School of Painting and Sculpture, 1995), p.6
Berland, Dinah, "Black's a color in exhibit at the museum of art," Long Beach Press .Telegram Spotlight: (Sunday June 25, 1989), D1.D3
Biller, Gerry, Russell Bowman, Dean Sobel, Word as hnage: American Art 1960.1990, (catalogue to accompany exhibition at Milwaukee Art Museum, Milwaukee, Wis.)
Bishton, Derek, "Fear of the Other," Creative Camera, February/March 1992, 48.49
Blase, Christophe, "Sezierte Angst .Eine politische Kunstlerin: Adrian Piper in Munchen," Frankfurter Allgemeine Zeitung, (November 3, 1992)
Bode, Peter M., "Wer ist Schwarz und Wer is Weiss? Kunstverein, Die provozierende Anti.Rassismus. Schau der New Yorkerin Adrian Piper" Abendzeitung (October 8, 1992)
Bogardi, Georges, "Pour la Suite de Monde," Canadian Art (Fall 1992), 94.96
Bonami, Francesco, "Dislocations: The Place of Installation," Flash Art XXV, 162, January / February 1992, 128
Bond, Ruth M., "Piper's Philosophy," City Paper, June 28, 1991, 38
Bonet, Eugeni, "Art Noves tecnologies : side i critica social en l' Art contemporani," Ava i (September 23, 1992).
Boneffl, David, "Art poser: Adrian Piper's work raises racial questions," San Francisco Examiner (Sunday, October 16, 1989). F1, F4
gorger, Irene, "The Funk Lessons of Adrian Piper," Helicon Nine 14.15, (1986), 15~153
gorger, Irene, "Funk Lessons: A Guerrilla Performance," L.A. Weekly, (March 28, 1984), 63.64
Botterbusch, Vera, "Der Virus Rassismus: Adrian Pipers provokante Installation im Kunsiverein,"Suddeutsche Zeitung Munchen (Oktober 14, 1992)
Boyd, Wallace, "Image Reveals Personal Art," The Emory Wheel, Tuesday, October 18, 1988, 8
Brand, Peggy Zeglin, "Revising the Aesthetic.Nonaesthetic Distinction: The Aesthetic Value of Activist Art," in Peggy Zeglin Brand and Carolyn Korsmeyer, Eds. Feminism and Tradition in Aesthetics (University Park: Penn State Press, 1995), 245.272
Brandon, Dolores, "Adrian Piper," Crossroads, National Public Radio (December 18, 1992)
Bremner, Ann, "Black Box/White Box," in Will/Power (Columbus: Wexner Center for the Arts of Ohio State University, 1993), 54.61. (catalogue); reprinted by New Langton Arts (1993).
Brenson, Michael, "Adrian Piper," The New York Times, May 1, 1987, C31
Brenson, Michael, "Black Artists: A Place in the Sun," The New York Times, (Sunday, March 12, 1989), C1
Brenson, Michael, "Split Show of Black Artists Using Nontraditional Media," The New York Times, (Friday, April 7, 1989)
Brenson, Michael, "Adrian Piper's Head.On Confrontation of Racism," The New York Times, (Friday, October 26, 1990), C36
Brentano, Robyn, "Outside the Frame: Performance, Art and Life,"in Outside the Frame: Performance and the Object (Cleveland: Cleveland Center for Contemporary Art, 1994) (catalogue)
Brumfield, John, "Marginalia: Life in a Day of Black L.A. or, The Theater of Refusal", Art Issues 29, (September/October, 1993), 24.27tc
Buck, Louisa, "Women in Art," Kaleidescope, British Broadcasting Company Radio Qune 29, 1992)
Buchanan, Nancy, "Collective Funk," High Perfonnance 26, (September 1984), 69
Carriere, Daniel, "Entre Tolerence et acceptation," Le Devoir Quly 16,1992)
Cantor, Judy, "Seville: Carmen on a Motorcycle," ArtNews 91, 2, (February 1992), 32.33
Chambers, Eddie, "Adrian Piper," Art Monthly, 1991, 13.15
Chambers, Eddie, "Introduction," History and Identity, (Norwich, England: Norwich Gallery, 1991)
Checefsky, Bruce, "Ohio: Adrian Piper," The New Art Examiner 18, 4, (December 1990), 45
Chideya, Farai, "Stars Artist: Adrian Piper," Nar 2 (Spring 1992), 12.13
Christensen, Judith, "Artistic Tribute to King..." The San Diego Union, The Arts Section, (April 1, 1991), D-4
Colby, Joy, "Horse packs quite a wallop," The Detroit News, (Friday, January 10, 1992), D-4
Coleman, Wanda, "A Second Heart: Racism, Identity, and the Blues Aesthetic," High Performance 52, (Winter 1990), 24.26 (cover)
Cotter, Holland, "Black Artists: Three Shows," Art in America 78, (March 1990), 164.217
Cotter, Holland, "Dislocating the Modern," Art in America, (January 1992), 100.107
Cottingham, Laura, "Adrian Piper," Journal of Contemporary Art 5, 1, (Spring 1992), 88.136
Crichton, Fennela, "London Newsletter," Art International XXIII, 6, (Summer 1974), 42
Croft, Brenda, "Black Like Me," Art and Australia (March 1993), 63.67
Cron, Marie.Michele, "Miroir de la Societe du Spectacle," Le Devoir aulY 18, 1992).
Crow, Thomas, "I'll Take the High Road, You Take the Low Road," Artforum XXIX 5, (January 1991)
Crowley, Madeline, "Adrian Piper: Talking to Myself: The Ongoing Autobiography of An Art Object," Whitney Symposium on American Art, (Monday, May 1, 1989)
Amada Cruz, "Movies, Monstrosities, and Masks: Twenty Years of Cindy Sherman," in Cindy Sherman: Retrospective, Essays by Amada Cruz, Amelia Jones and Elizabeth A. T. Smith (New York, N.Y.: Thames and Hudson and Chicago, Ill.: Museum of Contemporary Art, 1997).
Cullinan, Helen, "Two Black Women Artists Travel on Parallel Paths," The Cleveland Plain Dealer, February 1, 1987, 7H
Curtiss, Cathy, "Seeing in Black and White" Los Angeles Times, (April 20, 1993), F 1.2
Deak, Edit, "Pencil Moustache Makes Up," Art.Rite 11.12, (Winter 1975)
Danto, Arthur, C., "Dislocationary Art," The Nation, Qanuary 6, 1992)
Dattenberger, Simone, "Alptraum der Rassisten: Munchens Kunstverein zeigt Arbeiten von Adrian Piper", Munchener Merkur (vom October 7, 1992)
Davenport, Kimberly, "Impossible Libeffies: Contemporary Artists on the Life of Their Work over Time," Art Journal 54, 2 (Summer 1995), 40 52
Deitcher, David, "Drawing from Memory," The Art Of Memory/The Loss of History (New York: The New Museum of Contemporary Art, 1985), 15.21
Deitcher, David, "Art on the Installation Plan," Artforum XXX, 5, (January 1992), 78.84
De Lometar, Catherine, "Delayed Exposure Contemporary Aboriginal Photography," Art and Australia, (March 1993), 57.62
De Yampert, Rick, "Piper's Art Drawn from Controversy", Daytona Beach News Journal, (February 14, 1993) 3H
Desmond, Jane, "Mapping Identity onto the Body," Women and Performance Vl, 2 #12 (1993), 102. 126
Dimling, Rebecca, Review Art Papers, January/February 1993 Dimling, Rebecca, "Will/Power," Art Papers Qanuary/February 1993), 58.59
Dorsey, John, "Video and Audio in a Show of Ego," The Baltimore Sun, September 15, 1987, C1.3
Dreher, Thomas, "Adrian Piper, Cindy Sherman: Zwei amerikanische Kunstlerinnen", Kritik, January, 1993) 4.10.
Emenhiser, Karen, "Art at the End of the Century: A Dialogue," (brochure) University at Buffalo Art Gallery/Albright.Knox Art Gallery, Winter 1996.
Engberg, Kristen, "Marketing the (ad)just(ed)cause," New Art Examiner, (May 1991), 22.28
Failing, Patricia, "Black Artists Today: A Case of Exclusion?," Art News (March 1989), 124.131
Farver, Jane, "Adrian Piper," Adnan Piper: Reflections 1967.87 (Retrospective Catalogue) (New York, N.Y.: The Alternative Museum, 1987)
Fass, Matthew, "Confrontational Art," The Antioch Record 14, 17, (May 16, 1986), 8
Feigenbaum, Nancy, "Artist who meets racism head.on will analyze her work in lecture," Orlando Sentinel (April 7, 1994), A.2.
Fisher, Jean, "Adrian Piper: Out of Order, Out of Sight," Boolforum (Summer 1997).
Flam, Jack, "Armchair Activism at MOMA," The Wall Street Journal, (December 31, 1991)
Fleming, Jeff, "This is real. And it has everything to do with you," Adrian Piper, (brochure to accompany exhibition at Southeastern Center for Contemporary Art)
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Storr, Robert, Dislocations, (New York: Museum of Modern Art, 1992) (catalogue essay)
Storr, Robert, "The Map Room: A Visitor's Guide," Mapping (New York: The Museum of Modern Art, 1994), 5.23. (catalogue)
Storr, Robert, "Between a Rock and a Hard Place," Paper #3 in the Paper Series on the Arts, Culture and Society (New York: The Andy Warhol Foundation for the Visual Arts, 1994)
Sullivan, Meg, "Creative confrontation of racism," Art News & Notes, Daily News, L.A. Life, (February 15, 1991, 49)
"Summer Priorities: Adrian Piper at the WPA & Fig Leaves in the 90s," Baltimore Alternative, aulY 1991), 25, 26
Swartz, Anne, "'Adrian Piper: Icons of African.American Identity'," The Georgia Guardian, October 2~26, 1995, 1B and 8B
Sweeney, Louise, "Controversial Show salutes Top Ten in the Visual Arts," Christian Science Monitor, July 19, 1991, 10
Sydell, Laura, "Exit Art," All Things Considered, National Public Radio (June 29, 1992)
Szakacs, Dennis, "Adrian Piper." brochure essay, City Gallery of Art, Raleigh, N.C. (October. December 1993)
Taubin, Amy, "Self.Life," The Village Voice, (March 1, 1987), 55.56
Taubin, Amy, "Adrian Piper," Choices: Video, The Village Voice, (March 28, 1989), 45
Taubin, Amy, "Dislocations," The Village Voice XXXVI, 53, (December 31, 1991), p. 68
Thompson, Mildred, "Interview: Adrian Piper," Art Papers 12, 2, (March/April 1988), 27.30
Thorson, Alice, 'Worthy Wir~ners," City Paper, July 5, 1991, 25
Tipper, Andy, "Piping Up," What's On, September 14.27, 1991, 35
Tsatsos, Irene, "A Dialogue with Adrian Piper," P.Form 2, 2 (April/May 1987), 22.25
Twardy, Chuck, "Present Tension", The Raleigh News and Observer, Weekend Section, (Friday, October 1, 1993), 14.15
Upson, Nicola, "Smiling at Strangers," Second Shift I, 1 (Spring 1993, United Kingdom), 6.9.
Vallongo Sally, "Art with a modern message," The Blade, (December 8, 1991), 1.2 Vallongo, Sally, "A sneak preview of tomorrow's art," The Peach, (December 18, 1991), P.1
Van Tuyl Laura, "Artist Adrian Piper Mounts Urgent Challenge to Racism in Society," Christian Science Monitor, aUly 19,1991), 10
Verdino.Sullwood, Carla Maria, "Dislocations: Dialogue of Disparate Visions," The Crisis 99, Qanuary 1992), 7.8
Verdino.Sullwood, Carla Maria, "Generous with Our Uniqueness: Forging New Directions for African. American Women in the Arts," Crisis 99, 7, 29.36
Vogel, Carol, "Inside Art: Philip Morris Loses an Artist," The New York Times, Friday, November 24, 1995
Walker, Alexia, "Adrian Piper: Endless Loop Record/Erase", L'hiver de L'Amour Bis, Musee d'art Moderne de la Ville de Paris, (February.March 1994), 73
Walker, Maxine, "Maxine Walker in conversation with Adrian Piper," Autograph, (December 1991)
Wallace.Crabbe, Robin, "Bibliofile: Out of Order, Out of Sight," Art Monthly Australia 32, 99 (May 1997).
Wallach, Amei, "Art with a Wallop," New York Newsday, (Monday, April 10), Section 2, 4
Wallach, Amei, "Artists and Identity," The MacNeill/Lehrer Report, (September 8, 1989)
Wallach, Amei, "Making Trouble in the Galleries," New York Newsday, (Sunday, September 23, 1990), 14.16
Wallach, Amei, "Artful Assault on Sensibilities," New York Newsday, (Friday, October 18, 1991), 74, 99
Wallach, Amei, "New Voices," New York Newsday, (December 29, 1991)
Wallach, Amei, "Images of Black Males: A Reflection on Society," New York Newsday (Friday, November 11, 1994)
Wallis, Brian, "Will/Power at Wexner Center", Art in America, (February 19g3), 116.117
Watkin, Mel, "Adrian Piper: The Racist Within: Some Personal Observations,"
What It's Like, What It Is, #1 (brochure to accompany exhibition at the Washington Project for the Arts), Qune 1991)
Weil, Benjamin, "Interview With Adrian Piper," Purple Prose 3 (Paris: Summer 1993), 74.79.
Weintraub, Joanne, "College Philosopher's Artwork Anything But Black and White," 17'e Milwaukee Journal, (Thursday, October 14, 1993), B3
Welish, Marjorie, "In This Corner, Adrian Piper's Agitprop," Arts Magazine 65, 7, (March 1991), cover and 43.47
Weser, Marcia Goren, "Artist's work deals with society's prejudices and fears," San Antonio Light, (March 29, 1992), L.5
Wetzel, Anita, Words and Images With A Message, (catalogue to accompany exhibitir~n at the Women's Studio Workshop, 1990)
Willemson, Roger, "Adrian Piper," Premiere (November 5, 1992, Hamburg Cable TV).
Wilson, Judith, "Adrian Piper," Black Arts Annual 1987/1988, Ed. Donald Bogle (New York, N.Y.: Garland Press 1989) 5, 17, 19, 40 41
Wilson, Judith, "Optical Illusions: Images of Miscegenation in Nineteenth and Twentieth Century Art," American Art, (Summer 1991), 88.107
Wilson, Judith, "'In Memory of the News and of Ourselves': The Art of Adrian Piper," Third Text 16/17, (Autumn/Winter 1991), 39.62
Wilson, Judith, "Beauty Rites: Towards an Anatomy of Culture in African American Women's Art," in Image and Identity: The African American Experience in 20th Century Art, The International Review of Afncan American Art XI, 3 (1994), 11.18.
Wilson, Rhonda, "Angry Art," Everywoman, (December 1991/January 1992) Williams, Val, "Adrian Piper," Creative Camera, 27
Winston, Heidi, "Piper, Adrian: Out of Order, Out of Sight," L~brary Journal Quly 1996).
Wood, Joe, "Talking Back to Malcolm," Wile (November 1992), 130
Wooster, Ann.Sargent, "Making Their Mark," Making Their Mark: Women Enter the Mainstream 2970.1985 (New York, N.Y.: Abbeville Press, 1989).
Wye, Deborah, Thinking Print: Books to Billboards, 1980.95 (New York: The Museum of Modern Art, 1996), 86, 116.
Zelanski, Paul, and Fisher, Mary Pat, Shaping Space: The Dynamics of Three.Dimensional Design (Second Edition) (New York: Harcourt Brace College Publishers, 1995), 192
Zimmer, William, "Perceptions of the Other," The New York Times, February 11, 19g0, 32
Zimmer, William, "The Public and the Private in Robust Dialogue," The New York Times (Westchester Edition), (Sunday, October 28, 1990)
Take a Closer Look ...
Piper's mammoth 3-volume project, Rationality and the Structure of the Self, is composed of the following parts:
- The Humean Conception argues that the expected utility-maximization model of rationality and the belief-desire model of motivation that are jointly consitutive of the Humean conception are internally inconsistent and in any case inadequate to supply metaethical foundations for normative moral theories such as Rawls', Nagel's, Gewirth's, or Brandt's.
- Kant's Metaethics argues that The Critique of Pure Reason provides the metaethical models of rationality and motivation that Kant's normative moral theory presuposes; and so an alternative to the Humean conception of the self.
- A Kantian Conception articulates and defends a contemporary version of Kant's own conception of the self against Humean and anti-rationalist objections, and argues that it avoids the explanatory and metaethical pitfalls of the Humean Conception.
SOLO EXHIBITIONS
Three Untitled Projects (postal art exhibition)(New York: 0 to 9 Press. 1969) March 1969
One Man (sic), One Work, New York Cultural Center, New York, N.Y. February 1971
Adrian Piper, Gallery One, Montclair State College, Montclair, N.J. February 1976
Adrian Piper at Matrix 56, Wadsworth Atheneum, Hartford, Conn.; March 1980 in conjunction with:
Adrian Piper, Real Artways, Hartford, Conn. March 1980
Adrian Piper, And/ Or, Seattle, WA February 1981
Adrian Piper: Reflections 1967-1987 (retrospective): The Alternative Museum, New York, NY. April-May 1987; Nexus Contemporary Art Center, Atlanta, Ga. November-December 1987; Goldie Paley Gallery, Philadelphia, Pa. February-March 1989; University of Colorado Art Gallery, Boulder, Col. March 1990; Power Plant Gallery, Toronto, Canada May-June 1990; Wooster Art Museum, Wooster, Ohio August-October 1990; Lowe Art Museum, Coral Gables, Florida December l990-January 1991; Santa Monica Museum of Contemporary Art February-March 1991; Washington Project for the Arts, Washington, D.C. June-August 1991
Cornered, John Weber Gallery, New York, N.Y. March 1989
Matrix Gallery, University Art Museum, Berkeley, Cal. August-November l989
Williams College Art Museum, Williamstown, Mass. January-March 1990
Why Guess, University of Rhode Island Art Gallery, Kingston, R.I. February-March 1990
Pretend, John Weber Gallery, New York, N.Y. September 1990
Why Guess, Exit Art, New York, N.Y. October.November 1990
Out of the Corner, Whitney Museum of American Art, Film and Video Gallery, New York, N.Y. October.November 1990
Adrian Piper, University of Iowa Art Gallery March-April 1990
What It's Like, What It Is, #1, Washington Project for the Arts, Washington, D.C. June- . August 1991
What It's Like, What It Is, #2, Hirshhorn Museum, Directions Gallery, Washington, D.C. June-September
Adrian Piper: European Retrospective: Ikon Gallery, Birmingham, England September-November 1991; Cornerhouse, Manchester, England January-February 1992; Cartwright Hall, Bradford, England March-May 1992; Kettle's Yard, Cambridge, England July-September 1992; Kunstverein Munich, Germany October-November 1992
Space, Time and Reference 1967-1970, John Weber Gallery, New York, N.Y. October 1991
Political Drawings and Installations, 1975-1991 (retrospective): Cleveland Center for Contemporary Art, Cleveland, Ohio November 1991-February 1992; Carver Center, San Antonio, Tx. April 1992; Herron Gallery, Indianapolis Center for Contemporary Art, Indianapolis, In. May-June 1992; Women & Their Work, Austin, TX. October-December 1992
What It's Like, What It Is #2, Krannert Art Museum, Champaign, Ill. January-February 1992
Ur.Madonna, Expo '92, Monasterio de Santa Clara, Moguer (Huelva) Spain August 1992
Decide Who You Are: Grey Art Gallery, New York, N.Y. September-October 1992; John Weber Gallery, New York, N.Y. September-October 1992; Paula Cooper Gallery, New York, N.Y. October 1992; Myers Fine Art Gallery, SUNY Plattsburgh Art Museum, Plattsburgh, N.Y. February 1993
Art Awareness, Lexington, N.Y. June-July 1993
City Gallery of Contemporary Art, Raleigh, N.C. October-December 1993
Installations by Adrian Piper, New Langton Arts, San Francisco, CA. September 15-October 16, 1993
The Hypothesis Series 1968-70, Paula Cooper Gallery, New York, N.Y. March 1994
Cornered/Decide Who You Are, SUNY Buffalo, Buffalo, N.Y. March-April 1995
Icons of One: Decide Who You Are, Savannah College of Art Gallery, Savannah, Ga. October-November 1995
Ashes to Ashes, John Weber Gallery, New York, N.Y. November-December 1996
Galleria Emi Fontana, Milan, Italy October 1997
Thomas Erben Gallery, New York, N.Y. November-December 1997
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