{"id":63637,"date":"2022-04-01T03:02:22","date_gmt":"2022-04-01T03:02:22","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/?p=63637"},"modified":"2022-04-01T16:38:28","modified_gmt":"2022-04-01T16:38:28","slug":"performance-and-identity-in-adrian-pipers-work","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=63637","title":{"rendered":"Performance and Identity in Adrian Piper\u2019s Work"},"content":{"rendered":"

Performance and Identity in Adrian Piper\u2019s Work<\/strong><\/em><\/a><\/p>\n

InMedia: The French Journal of Media Studies<\/a>
\nVolume 8, Number 2 (2020)<\/a>
\nDOI: 10.4000\/inmedia.2754<\/a>
\n17 pages<\/p>\n

Antonia Rigaud<\/strong><\/a>, Associate Professor of American Studies
\nSorbonne Nouvelle University, Paris France<\/em><\/p>\n

<\/a>
Lorna Simpson<\/a>
\nHead On Ice #3<\/em>
\n2016
\nInk and screenprint on gessoed fiberglass
\nUnique
\n67 x 50 x 1 3\/8 in (170.2 x 127 x 3.5 cm)
\n\u00a9<\/sup>Lorna Simpson
\nCourtesy the artist and Hauser & Wirth<\/em>
\nPhoto: James Wang<\/em><\/figcaption><\/figure>\n

Adrian Piper\u2019s<\/a> career which spans close to 60 years illustrates the passage in American art from conceptualism<\/a> to performance art<\/a> 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.<\/p>\n

Contents<\/strong><\/p>\n