Performance and Identity in Adrian Piper’s Work
Bibliographic Data
| ID | 22060271 |
|---|---|
| Authors | Antonia Rigaud (0000-0002-0283-6448, American College of Financial Services, corresponding author) |
| Year | 2020 |
| Volume | 8.2 |
| Publication date | 2020-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | InMedia (JOURNAL) |
| Journal identifiers | ISSN: 2259-4728 • E-ISSN: 2259-4728 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/inmedia.2754 |
| OpenAlex | W3210862811 |
| Language | EN |
| References cited | 9 |
Adrian Piper’s career which spans close to 60 years illustrates the passage in American art from conceptualism to performance art at the turn of the 1970s. She uses the language of conceptualism to interrogate, through performance, the notion of identity in American culture. Confronting her viewers with racial stereotypes, or presenting strategies of retreat, her performances suggest that identity is a fluctuating notion, one which can only exist in dialogue between artist and audience. Her critique of essentialism is at the heart of artworks which are to be construed as social contracts binding artist and audiences together in the definition of the self
Aesthetics · Art · Piper · Sociology · Traditional medicine · Engineering · Social and Cultural Dynamics · Theatre and Performance Studies · Mechanical Engineering
| Citation velocity | historical |
|---|---|
| Highly cited | No |