Adrian Piper

Adrian Piper (2005)

Adrian Margaret Smith Piper (born September 20, 1948 in New York City ) is a first-generation American conceptual artist and an analytical philosopher . She lived in Cape Cod , Massachusetts for many years before emigrating from the United States . She has lived and worked in Berlin since 2005 , where she runs the Adrian Piper Research Archive Foundation Berlin.

School and university education

As a high school student , Piper attended Riverside Church , then New Lincoln School, and the Art Students' League for the last few years leading up to high school . She was 20 years old when she first exhibited her art at an international level and in 1969 graduated from the School of Visual Arts with a degree in fine arts with a focus on painting and sculpture (AA - Associate in Arts Degree). While continuing to produce and exhibit art, Piper graduated from City College of New York with a BA summa cum laude in 1974 with a research honors in Philosophy and a minor in Medieval and Renaissance Musicology. At Harvard University she studied philosophy, where she in 1977 graduated as MA took off and in 1981 with a thesis on John Rawls doctorate . From 1977 to 1978 she also studied Immanuel Kant and Georg Wilhelm Friedrich Hegel with Dieter Henrich at the University of Heidelberg . In total, her school and university education lasted 27 years.

Philosophical work

Adrian Piper has taught philosophy at the Universities of Georgetown , Harvard , Michigan , Stanford and the University of California at San Diego . In the footsteps of pioneer Dr. Joyce Mitchell Cook , she became the first African-American full-time professor of philosophy in 1987. Wellesley College forcibly removed her chair in 2008 due to her refusal to return to the United States while her name is on the US Transportation Safety and Security Agency (TSA) watchlist as a "Suspicious Traveler ." Her philosophical publications deal primarily with metaethics , Kant and the history of ethics . Her two-volume study on Kantian metaethics, Rationality and the Structure of the Self, Volume I: The Humean Conception and Rationality and the Structure of the Self, Volume II: A Kantian Conception , was accepted for publication by Cambridge University Press in 2008 and has since been available as a free e-book on Piper's website. This study offers a critical overview of the most important moral theories of the late 20th century, it develops a Kantian theory of metaethics anchored in Kant's Critique of Pure Reason and integrates conventional decision theory into classical predicate logic .

Rationality and the Structure of the Self marks the culmination point of 34 years of work, some of the results of which had already been published in articles. An early article, "Two Conceptions of the Self," introduced Piper's distinction between the Humean and Kantian conceptions of the self , motivation, and rationality . In Rationality and the Structure of the Self , she argues that in Anglo-American philosophy of the second half of the 20th century, a struggle for supremacy in the field of ethics developed between these two conceptions. According to Piper's definition, the Humean conception consists of the so-called belief / desire model of motivation and the utility maximization model of rationality, while in the Kantian conception, both motivation and rationality are based on the principles of deductive and inductive logic. Thus the Kantian conception of the self of freedom, autonomy and moral obligation takes precedence over the satisfaction of desires and the maximization of utility. Piper is convinced that the opponents in this fight hinder themselves by their respective assumptions. In Rationality and the Structure of the Self she gives an overview of this historical development and develops solutions for some of the hitherto unsolved problems that have arisen from it.

Piper examined the Humean conception of the self in depth in Volume I: The Humean Conception . In it she pays tribute to the impressive history of this conception by Thomas Hobbes , David Hume , Jeremy Bentham , John Stuart Mill and Henry Sidgwick and examines how it forms the foundation for utilitarianism , the virtue theory and the contract theory of contemporary philosophy. Due to the technical design of the Humean conception in decision theory and neoclassical economic theory, such as With Frank Plumpton Ramsey , Leonard Savage , John von Neumann and Oskar Morgenstern , Maurice Allais and others, Piper also traces her influence on economics, psychology and political theory. She argues that moral philosophers of the late 20th century, when developing the foundations of their moral philosophies, allowed themselves to be tempted to take the humean conception for granted because of the far-reaching influence of conception in the social sciences. A thorough examination of the belief / desire model of motivation and the utility maximization model of rationality, both in an informal and in an axiomatized version, shows, according to Piper, that such formulations are not only either meaningless or contradicting themselves. Rather, they also obscure fundamental fundamental assumptions, on the basis of which it cannot be determined exactly what the irrationality of a cyclical arrangement consists of; thus the technical tools of decision theory are deprived of a robust and formally valid consistency criterion.

Piper criticizes that Humean moral philosophers have pushed these problems off to a mere straw , namely the debate between consequentialism and deontology , instead of tackling them head-on. As a result, Piper argues, there are humane moral philosophers as diverse as John Rawls , Thomas Nagel , Richard Brandt , Alan Gewirth , Annette Baier , Bernard Williams , Harry Frankfurt , Allan Gibbard , David Kellogg Lewis , Alvin Goldman , Elizabeth S. Anderson , Elizabeth Anscombe and others appropriated the Humean conception of the self for fundamental purposes. At the same time, however, their attempts to solve the three unsolvable metaethical problems raised by the Humean conception were unsuccessful: the problems of moral motivation, rational end-ends, and moral justification. Volume I of Rationality and the Structure of the Self comes to the conclusion that the Humean conception of the self can only be saved if it is embedded as a special case in a more comprehensive Kantian conception in which it is implicitly accepted as given.

However, in Piper's view, numerous Kantian moral philosophers have tied their own hands in an attempt to formulate an alternative to the Humean term by limiting their attention to Kant's moral philosophy. In two older articles on Kant's exegesis, "Kant on the Objectivity of the Moral Law" (1994) and "Kant's intelligible standpoint for action" (2000), Piper had argued that Kant's own moral theory without reference to the historically earlier criticism pure reason cannot be adequately interpreted, since it introduces all the important technical terms that are formative for the foundation and the second critique . If contemporary Kant's moral theory ignores Kant's first criticism , according to Piper, then it is impossible for it to knock out the humean conception with its highly developed and systematized formalization of the theory of action, the success of which is shown in its practical application in social sciences.

Piper tried to remedy these deficiencies with Rationality and the Structure of the Self, Volume II: A Kantian Conception . In Kant's first critique , she finds inspiration for possible alternative models of motivation, rationality, and the self that build on the relatively stable foundation of classical predicate logic - the same foundation on which Kant's own conception of reason was based. She develops a suggestion how conventional axiomatizations of decision theory can be integrated into this foundation without losing their predictive power, namely by (1) explicitly reproducing the dimensionality of preference orders using classical predicate logic and (2) by using Boolean connections and the quantifying notation of Boolean logic be extended to subset elements. In addition, she argues that the incorporation of the Humean belief / desire model of motivation into a Kantian model of reason as motivation implies answers to the problems of moral motivation, rational end-ends, and moral justification raised by the Humen conception.

In this second volume, Piper develops a conception of human action based on logical consistency as literal self-preservation. For the concepts that characterize the structure of the self in the ideal case, she suggests two consistency criteria: the horizontal consistency of cognitively effective concepts with one another, which applies the quantified principle of excluded contradiction to subordinate elements; and the vertical consistency of lower-order terms with higher-order terms, which the quantified rule of modus ponens applies to the inferred derivative relation of such elements to one another. End purposes that meet these two criteria are rational; substantive moral theories which they satisfy are rationally justified; and the actions guided by these criteria also include morally motivated actions.

Piper argues that humans are naturally predisposed to at least appear to maintain such consistency - both in their cognitions and in their actions, even when actual reality lags behind. This concrete deficit calls reasoning ( "pseudorationality"). According to Piper, this superordinate disposition explains why reason can be motivating in the absence of desire and why it is so seldom in reality. Piper applies this conception of self and action to firstly examine and justify the phenomenon of whistleblowing , and secondly to subject xenophobia to an investigation that implies its inevitability as well as its accessibility to rational reform. In her early article "Moral Theory and Moral Alienation" (1987), Piper concluded that the phenomenon of moral alienation to which metaethical literature pays so much attention is a natural by-product of the fact that we are cognitive and rational Have and apply skills. She concludes Volume II of Rationality and the Structure of the Self with the further argument that without so-called moral alienation we would be unable to grasp meanings, build interpersonal relationships, or act transpersonal in the service of unselfish or selfless moral principles.

Artistic work

Alice Down the Rabbit Hole (1966; tempera on canvas, laid down on hardboard, 45.7 × 61 cm). Emi Fontana Collection. Photo credit: Robert del Principe

Hypothesis: Situation # 3 (for Sol LeWitt) (1968; photo-diagram-collage on graph paper, original typewriter text, text in the classic photo offset process, 28.4 × 86.5 cm; 28.4 × 22.1 cm ; 28.5 × 43.6 cm). Adrian Piper Research Archive collection. Photo credit: Amy Patton

Adrian Piper's early LSD paintings from 1965 to 1967, some of which were created during the last few years before graduating from high school, were discovered and curated by Robert del Principe, first exhibited in 2002 at the Galleria Emi Fontana in Milan and quickly transferred to the international canon of psychedelic art . In 1967 Piper came under the influence of the work of Sol LeWitt and devoted himself to the principle of conceptual art , which gives the highest priority to the idea or concept from which a work is created, and other artistic media - painting, drawing, performance, video, installation, Sound works, photo documentation, etc. - sees them as equally available and valuable means of carrying them out. She has remained true to this approach in all of her work since then.

Art for the Artworld Surface Pattern (1976; installation with various media 152.4 × 152.4 × 213.3 cm: designed wooden environment, specially printed wallpaper, audio monologue, naked lightbulb). Collection of the San Francisco Museum of Modern Art.

Between 1967 and 1970 her early work as a first generation concept artist brought the techniques and approaches of yoga and meditation - what she called the indexical present and developed through her own practice - using maps, diagrams, photographs and Descriptive language applied to the exploration of consciousness, perception and the endless permutation . Her series Hypothesis: Situation (1968–1970) created a connection between the passive perception of objects and the dynamic character of self-conscious action; as a result, she turned to unannounced street performance for a short time . With her performance series Catalysis (1970–72) and Mythic Being (1973–75), Piper introduced the themes of xenophobia, gender and race and into the vocabulary of conceptual art in the 1970s. Then she explicitly introduced political content into minimalism with her environment Art for the Artworld Surface Pattern (1976), created from various media .

Self-Portrait Exaggerating My Negroid Features (1981; pencil on paper, 20.3 × 25.4 cm). Eileen Harris Norton Collection.

In the 1980s she focused her artistic work by applying her meditation concept of the indexical present to the interpersonal dynamics of racism and racial stereotypes. Works exploring these themes include her pencil drawing Self-Portrait Exaggerating My Negroid Features (1981), her collective performance Funk Lessons and the accompanying video (1982–84), her unannounced calling card performances (1986–1990) , her media-combining installation Close to Home (1987), her video installations Cornered (1988) and Vanilla Nightmares (1986–1989), her series of racial and sexual taboo-breaking charcoal drawings for the New York Times . Her first retrospective in 1987 at the Alternative Museum in New York, Adrian Piper: Reflections 1967–1987 , offered the art public and a new generation of viewers a renewed introduction to the media, strategies, and concerns of first-generation conceptual art. Her video installation The Big Four-Oh (1988), which combines various media, won the 2001 New York Dance & Performance Award (Bessie) in the field of Installation & New Media.

What It's Like, What It Is # 3 (1991; video installation: wooden construction, mirrors, lighting, video disc, music sound track, variable dimensions). Adrian Piper Research Archive collection. Photo credit: David Campos

Decide Who You Are # 1: Skinned Alive (1992; photo-text collage, 3 panels, 182.8 × 388.6 cm above all). Margaret Muntzer Loeb Collection.

The Color Wheel Series # 29: Annomayakosha (2000; photo-text collage with screen printing, 142 × 91 cm). Adrian Piper Research Archive collection.

In the 1990s, Piper expanded many of the terms and concerns mentioned to include several large-format multimedia works and video installations created as commissioned works in the formal tradition of serial minimalism . These included Vote / Emote (1990), Out of the Corner (1990), What It's Like, What It Is # 1-3 (1991-92), and Black Box / White Box (1992). Piper's photo-text collage Decide Who You Are (1991–92), comprising several panels, combined in a series of formal variations on the themes of political self-deception and insincerity, photographic material that had been taken over with screen printing and poetically compressed texts. Her picture, executed with oil pastel with the text Self-Portrait as a Nice White Lady (1995), continues to shock, anger and amuse the viewer. Also in 1995, in protest against sponsorship by tobacco maker Philip Morris , Piper withdrew her work from a major survey exhibition on early conceptual art from a museum. As a replacement, she created Ashes to Ashes (1995), a photo-text work that tells of the death of both of her parents from illnesses caused by smoking. This work exists in both an English and an Italian version.

With the variations of the Color Wheel series executed as screen-printed graphics , in which she combines Sanskrit text with drawings, photographic elements and depictions of a Vedic deity, Piper expanded the vocabulary of conceptual art further in 2000 to include images and terms from Vedic philosophy . She has since used these terms in her video YOU / STOP / WATCH (2002), her ongoing multimedia series Everything (since 2003), her video-recorded lecture / performance Shiva Dances with the Art Institute of Chicago (2004), and her PacMan Trilogy (2005–08) expanded into an introspective investigation of the topics of loss, desire, distance and self-transcendence. The latter is a series of three video animations that schematize certain basic human dynamics using Pac-Man images. Her latest series Vanishing Point (since 2009), which combines sculpture installations with drawings and collective performance, brings her exploration of nature, the structure and the limits of the ego-self even more sharply into focus.

Adrian Piper's artistic work is represented in many important collections, such as the Museum of Modern Art , New York, the Metropolitan Museum of Art , New York, the Museum of Contemporary Art, Los Angeles , the Center Georges Pompidou , Paris, the Generali Foundation , Vienna and the Aomori Art Museum , Japan. Her sixth traveling retrospective, Adrian Piper since 1965 , ended in 2004 at the Museum of Contemporary Art in Barcelona . Her two-volume collection OUT OF ORDER, OUT OF SIGHT: Selected Writings in Meta-Art and Art Criticism 1967–1992 (MIT Press, 1996) is available in paperback.

Yoga practice

Piper began studying and practicing yoga in 1965 with the Upanishads and the great illustrated yoga book by Swami Vishnudevananda . From 1966 she learned from Swami Satchidananda and became Svanishtha in 1971 and Brahmacharin in 1985 . Between 1992 and 2000 she learned in Kripalu with Gitanand and with Arthur Kilmurray, Patricia Walden, Chuck Miller, Erich Schiffmann, Leslie Bogart, Richard Freeman, Tim Miller, David Swenson, Gary Kraftsow, Georg Feuerstein , David Frawley and John Friend. Her practice of asanas, based on Iyengar principles, is based on Vinyasa and Pranayama . Her meditation practice is based on Samyama and follows the structure of the 24 Tattvas , but regards these as correspondences to the five Koshas and the Atman from the Vedanta as the actual designation of the Purusha term from the Samkhya .

Scholarships and Awards

Adrian Piper has been a Non-Resident Fellow of the New York Institute for the Humanities at New York University since 1994 . From 1998 to 1999 she was a fellow at the Getty Research Institute . Foundations such as Guggenheim , AVA, NEA , NEH , Andrew Mellon, Woodrow Wilson, IFK and the Wissenschaftskolleg zu Berlin Institute for Advanced Study have granted her research grants. She was also awarded the Skowhegan Medal for Sculptural Installation and the New York Dance & Performance Award (the Bessie) for Installation & New Media. In 2015 she was awarded the Golden Lion for the best female artist at the Biennale di Venezia with her work The Probable Trust Registry / The Rules of the Game # 1–3 .

In 2018 Piper received the Käthe Kollwitz Prize . The Academy recognized her as an internationally active artist and analytical philosopher who had played a key role in shaping American conceptual art since the mid-1960s: “She had a lasting impact on the African-American art scene and held up a mirror to the white-male view of culture in general. “In 2021 Piper was awarded the Goslarer Kaiserring .

The APRA Foundation Berlin

Adrian Piper founded the Adrian Piper Research Archive (APRA - Adrian Piper Research Archive) in 2002 after she was diagnosed with a chronic, progressive and incurable disease. Although the disease disappeared within two years after she emigrated to Germany in 2005, the APRA continued to develop it into a private and public source of information for students, researchers, curators, collectors, authors and anyone with a constructive curiosity or a professional or academic interest Reasons for their work and their lives.

The APRA is maintained as a testimony to Piper's activities in her three selected specialties: arts, philosophy and yoga. It comprises (1) the archive, which contains a collection of Piper's works of art, correspondence, manuscripts, documents, family photos and letters, as well as a library with books, catalogs and articles, a media library with video and audio works, an image archive, a library for Vedic and Western philosophy, an art library, a library of fiction and poetry, a music collection, a video collection, a directory of works of art, a directory of texts, as well as their living and working environment, their furniture and personal items, which are preserved in the form Piper has them designed, created, arranged and / or used; and (2) the APRA website, which provides professional and biographical information on Piper's life and work.

In 2009, Piper established the APRA as a foundation that also finances the APRA Foundation Multi-Disciplinary Fellowship, a one-time, annually awarded research grant for researchers who (a) are recognized top performers in at least two apparently incompatible research areas and / or areas of art and (b) want to use the resources of APRA to explore the conception, construction and / or structure of the self in one or both areas. In this way, the APRA Foundation Berlin supports research that exemplarily or model, analytically and / or theoretically captures the same creative, multidisciplinary forms of self-expression nourished by globalization and intercultural travel, which also embodies Piper's own work. The scholarship picks up where the publication Rationality and the Structure of the Self leaves off. It is intended to encourage a deeper and broader study of the concepts and theories that Piper's own philosophical research and art deal with. The aim of the scholarship is to identify the constructive influences of interculturality and globalization on the development of different types of creative self-expression and to shed light on how these in turn help people to adjust to this diversity of different cultures and to flourish in it.

bibliography

Texts by Adrian Piper (selection)

• Utility, Publicity, and Manipulation. In: Ethics. Volume 88, No. 3, April 1978, pp. 189-206
• Property and the limits of the self. In: Political Theory. Volume 8, No. 1, February 1980, pp. 39-64
• A Distinction Without a Difference. In: Midwest Studies in Philosophy VII: Social and Political Philosophy. 1982, pp. 403-435
• Two Conceptions of the Self. In: Philosophical Studies. Volume 48, No. 2, Sep. 1985, pp. 173-197, reprinted in The Philosopher's Annual. Volume VIII, 1985, pp. 222-246
• Instrumentalism, Objectivity, and Moral Justification. In: American Philosophical Quarterly. Volume 23, No. 4, October 1986, pp. 373-381
• Moral Theory and Moral Alienation. In: The Journal of Philosophy. Volume LXXXIV, No. 2, February 1987, pp. 102-118
• Personal Continuity and Instrumental Rationality in Rawls 'Theory of Justice'. In: Social Theory and Practice. Volume 13, No. 1, Spring 1987, pp. 49-76
• Pseudorationality. In: Amelie O. Rorty and Brian McLaughlin (Eds.): Perspectives on Self-Deception. University of California Press, Los Angeles 1988, pp. 297-323
• Hume on Rational Final Ends. In: Philosophy Research Archives. Volume XIV, 1988-89, pp. 193-228
• Higher-order discrimination. In: Amelie O. Rorty and Owen Flanagan (eds.): Identity, Character and Morality. MIT Press, Cambridge, Mass. 1990, pp. 285-309; reprinted in condensed form in the series Studies on Ethics in Society. Western Michigan University, Kalamazoo, Mich. 1990
• 'Seeing Things'. In: Southern Journal of Philosophy. Volume XXIX, Supplementary Volume: Moral Epistemology. 1990, pp. 29-60
• Impartiality, Compassion, and Modal Imagination. In: Ethics. Volume 101, No. 4, Symposium on Impartiality and Ethical Theory. July 1991, pp. 726-757
• Xenophobia and Kantian Rationalism. In: Philosophical Forum. Volume XXIV, No. 1–3, Fall – Spring 1992–93, pp. 188–232; reprinted in Robin May Schott (ed.): Feminist Interpretations of Immanuel Kant. Pennsylvania State University Press, University Park 1997, pp. 21-73; and in John P. Pittman (Ed.): African-American Perspectives and Philosophical Traditions. Routledge, New York 1997
• Two Kinds of Discrimination. In: Yale Journal of Criticism. Volume 6, No. 1, 1993, pp. 25-74. Reprinted in Bernard Boxill (Ed.): Race and Racism. Oxford University Press, Oxford, pp. 193-237
• Making Sense of Value. In: Ethics. Volume 106, No. 2, April 1996, pp. 525-537
• Kant on the Objectivity of the Moral Law. In: Andrews Reath, Christine M. Korsgaard and Barbara Herman (Eds.): Reclaiming the History of Ethics: Essays for John Rawls. Cambridge University Press, New York 1997
• The Enterprise of Socratic Metaethics. In: Naomi Zack (Ed.): Nonwhite Women and Philosophy: A Critical Reader. Blackwell, London 2000
• Kant's intelligent point of view on action. In: Hans-Ulrich Baumgarten and Carsten Held (eds.): Systematic Ethics with Kant. Munich and Freiburg 2001
• Intuition and Concrete Particularity in Kant's Transcendental Aesthetic. In: F. Halsall, J. Jansen and T. O'Connor (Eds.): Rediscovering Aesthetics. Stanford University Press, Palo Alto 2008

Books

• Rationality and the Structure of the Self, Volume I. The Humean Conception (officially accepted for publication by Cambridge University Press in 2008 and published as a freely accessible online e-book at http://adrianpiper.com/rss/index.shtml )
• Rationality and the Structure of the Self, Volume II. A Kantian Conception (officially accepted for publication by Cambridge University Press in 2008 and published as a freely accessible online e-book at http://adrianpiper.com/rss/index.shtml )

About Adrian Piper / Selected interviews and reviews, especially in the field of art

• Bruce Altschuler: Adrian Piper: Ideas Into Art. In: Art Journal. Volume 56, No. 4, Winter 1997, pp. 100-101
• Anette Baldauf: Racism and xenophobia: Conversation with the conceptual artist and philosopher Adrian Piper. In: Wiener Zeitung Kulturmagazin. Number 30, 1993, p. 16
• David A. Bailey: Adrian Piper: Aspects of the Liberal Dilemma. In: Frieze. October 1991, pp. 14-15
• Claudia Barrow: Adrian Piper: Space, Time, and Reference 1967-1970. In: Adrian Piper. Catalog for the exhibition at Ikon Gallery, Birmingham, England, September 1991, pp. 11–15
• Maurice Berger: Adrian Piper: A Retrospective. Retrospective catalog, University of Maryland Baltimore County Press, Baltimore 1999
• John P. Bowles: Adrian Piper and the Rejection of Autobiography. In: American Art. University of Chicago Press, Chicago 2007
• Mela Dávila (ed.); Cristina Rodrigo, Jordi Palou, Martin Perazzo (translation): Adrian Piper. Despe 1965. Museu d'Art Contemporani de Barcelona, ​​Barcelona 2003
• Jane Farver: Adrian Piper. In: Adrian Piper: Reflections 1967-87. Retrospective catalog, The Alternative Museum, New York, NY 1987
• Jean Fisher: The Breath between Words. In: Maurice Berger: Adrian Piper: A Retrospective. Retrospective catalog, University of Maryland Baltimore County Press, Baltimore 1999, pp. 34–44
• Pamela Franks: Conceptual Rigor and Political Efficacy, Or, The Making of Adrian Piper. In: Rhea Anastas and Michael Brenson (eds.): Witness to Her Art. Bard College, Center for Curatorial Studies, Annadale-on-Hudson: New York, 2006, pp. 75-82
• Sønke Gau: Adrian Piper-Since 1965: Meta art and art criticism. In: Camera Austria International. Volume 79, 2002, pp. 73-74
• Ann Goldstein : Adrian Piper. In: Reconsidering the Object of Art: 1965–1975. Catalog, The Museum of Contemporary Art, Los Angeles 1995, pp. 196–199
• Matteo Guarnaccia: Tele dal Gusto Acido alla Scoperta della Realtà. In: Alias ​​(il Manifesto). Volume 6, No. 14, April 5, 2003, pp. 4-5
• Elizabeth Hayt-Atkins: The Indexical Present: A Conversation with Adrian Piper. In: Arts Magazine. March 1991, pp. 48-51
• Joerg Heiser: Questionnaire: Adrian Piper. In: Frieze. No. 87, November / December 2004, p. 126
• Grant Kester: Adrian Piper in Concept. In: The Nation. Volume 264, No. 4, February 3, 1997, pp. 25-27
• Bobby Maddex: Maximizing Clarity: An Interview with Conceptual Artist Adrian Piper. In: Gadfly. Volume 1, No. 2, April 1997, pp. 22-25
• Rosemary Mayer: Performance and Experience. In: Arts. December 1972, pp. 33-36
• Peggy Phelan: Portrait of the Artist. In: The Women's Review of Books. Volume XV, No. 5, February 1998
• Clive Phillpot: Adrian Piper: Talking to Us. In: Adrian Piper: Reflections 1967-87. Catalog for retrospective, The Alternative Museum, New York 1987
• Arlene Raven: Civil Disobedience. In: The Village Voice. September 25, 1990, rubric art and title and pp. 55, 94
• Anne Rorimer: New Art in the 60s and 70s: Redefining Reality. In: Thames and Hudson, London 2001, pp. 160-162, 164, 193
• Jan Svenungsson: An Artist's Text Book. In: Finnish Academy of Fine Arts, Helsinki 2007, pp. 69-77
• Agata Waleczek: 'I Still Do Believe They Want Me Dead': An Interview With Adrian Piper , in: Frieze on September 10, 2018, accessed on October 3, 2018
• Judith Wilson: 'In Memory of the News and of Ourselves': The Art of Adrian Piper. In: Third Text. Volume 16/17, Herbst / Winter 1991, pp. 39-62
• George Yancy: Adrian MS Piper. In: George Yancy (ed.): African American Philosophers: Seventeen Conversations. Routledge, New York 1998, pp. 49-71

Web links

Commons : Adrian Piper  - Collection of pictures, videos and audio files

• Literature by and about Adrian Piper in the WorldCat bibliographic database
• Adrian Piper Research Archive Foundation Berlin
• Adrian Piper Exhibition at Elizabeth Dee Gallery in New York ( July 20, 2011 memento in the Internet Archive )
• Rationality and the Structure of the Self, Part I: The Humean Conception and Rationality and the Structure of the Self, Part II: A Kantian Conception
• OUT OF ORDER, OUT OF SIGHT: Selected Writings in Meta-Art and Art Criticism 1967-1992 (MIT Press, 1996)
• Materials by and about Adrian Piper in the documenta archive

Individual evidence

1. ^ Adrian MS Piper: Rationality and the Structure of the Self, Volume I. The Humean Conception . Officially accepted for publication by Cambridge University Press in 2008. Published as a free online e-book at http://adrianpiper.com/rss/index.shtml
2. ^ Adrian MS Piper: Rationality and the Structure of the Self, Volume II. A Kantian Conception . Officially accepted for publication by Cambridge University Press in 2008. Published as a free online e-book at http://adrianpiper.com/rss/index.shtml
3. ^ Adrian MS Piper: Two Conceptions of the Self. In: Philosophical Studies. Volume 48, September 2, 1985, pages 173-197. Reprinted in The Philosopher's Annual. Volume VIII, 1985, pp. 222-246.
4. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . Hobbes is covered in Chapters I and XII. Hume is covered in Chapters XIII and XIV. Bentham, Mill, and Sidgwick are covered in Chapter XII. The virtue theory is dealt with in Chapters I and V, as well as in Chapter VI of Volume II. A Kantian Conception .
5. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . See chapters III and IV.
6. ↑ See Rationality and the Structure of the Self , Chapter I. General Introduction to the Project: The Enterprise of Socratic Metaethics. This chapter serves as an introduction to both volumes.
7. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . The belief / desire model of motivation is discussed in Chapter II. The utility maximization model of rationality is dealt with in Chapters III and IV.
8. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . See Chapter V.
9. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . The criticism of Rawls can be found in Chapters VI.2 and X. The criticism of Thomas Nagel can be found in Chapter VII. The criticism of Brandt can be found in Chapter XI. The criticism of Gewirth can be found in Chapter IX.3. The criticism of Annette Baier can be found in Chapter XIII. The criticism of Williams can be found in Chapter VIII.3.2. The criticism of Frankfurt can be found in Chapter VIII.2. The criticism of Gibbard can be found in Chapter XII.5. The criticism of David Lewis can be found in chapters II.1.3 and XII.5. The criticism of Alvin Goldman can be found in Chapter II.1.2. The criticism of Elisabeth Anderson can be found in Chapter IX.1. The criticism of Anscombe can be found in Chapter V.
10. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . The problem of moral motivation is examined in Chapter VI. The problem of rational end-ends is examined in Chapter VIII. The problem of moral justification is examined in Chapter IX.
11. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception . See Chapter XV.
12. ^ Adrian MS Piper: Kant on the Objectivity of the Moral Law. In: Andrews Reath, Christine M. Korsgaard and Barbara Herman (Eds.): Reclaiming the History of Ethics: Essays for John Rawls . Cambridge University Press, New York 1997, pp. 240-269.
13. ^ Adrian MS Piper: Kant's intelligible point of view on action. In: Hans-Ulrich Baumgarten and Carsten Held (eds.): Systematic Ethics with Kant. Munich and Freiburg 2001, pp. 162–190. Available in English at http://adrianpiper.com/docs/WebsiteKantsIntelStandpoint(2000).pdf
14. ^ Rationality and the Structure of the Self , Chapter I.
15. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception , Chapter II.
16. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception , Chapter III.
17. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception . The proposed solution to the problem of moral motivation can be found in Chapter V. The proposed solution to the problem of rational end-ends can be found in Chapter VIII.7. The proposed solution to the problem of moral justification can be found in Chapters IX and X.
18. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception . The idealized theory is discussed in Chapters II and V. Its practical applications are discussed in Chapters VII and VIII.
19. ^ Rationality and the Structure of the Self, Volume I. The Humean Conception , Chapters VI.8 and IX.8
20. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception , Chapter XI.
21. ^ Adrian MS Piper: Moral Theory and Moral Alienation. In: The Journal of Philosophy. Volume LXXXIV, Issue 2, February 1987, pp. 102-118.
22. ^ Rationality and the Structure of the Self, Volume II. A Kantian Conception , Chapter XI.8.
23. ↑ Sabine Breitwieser (ed. And introduction), Dietrich Karner (preface): Adrian Piper since 1965: Metakunst und Kunstkritik. Generali Foundation, Vienna 2002; Adrian Piper: Self-portrait from the Inside Out, 1965 and LSD womb, 1965. In: The War is over: 1945–2005 La libertá dell'arte . Exhibition catalog, galleria d'arte moderna e contemporanea, Bergamo 2005, p. 168; Alice in Wonderland, 1966. In: Metropolis M, Magazine on Contemporary Art. No. 1, 2008. p. 75; Martina Corgnati: Adrian Piper sotto l'effetto dell 'LSD. In: La Republica-Milano. Online edition, December 7, 2002; Matteo Guarnaccia: 18 pezzi psichedelelici. In: Il Manifesto. December 19, 2002, p. 15; Matteo Guarnaccia: Tele dal Gusto Acido alla Scoperta della Realtà. In: Alias ​​(il Manifesto). Volume 6, No. 14, April 5, 2003, pp. 4-5; Francesca Memeo: Gli anni Psichedelici di un artista contro il razzimo. In: Vivere Milano, La Stampa. November 21, 2002, p. 10.
24. ^ Adrian Piper: A Defense of the 'Conceptual' Process in Art, 1967. In: OUT OF ORDER, OUT OF SIGHT Volume II: Selected Writings in Art Criticism 1967-1992. MIT Press, Cambridge, Mass. 1996, pp. 3-4; Adrian Piper: My Art Education, 1968. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968–1992. Pp. 3-7; Ann Goldstein: Adrian Piper. In: Reconsidering the Object of Art: 1965–1975. The Museum of Contemporary Art, Los Angeles 1995, pp. 196–199.
25. ^ Adrian Piper: Xenophobia and the Indexical Present II: Lecture, 1992. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968-1992. Pp. 255-273.
26. ^ Adrian Piper: Xenophobia and the Indexical Present II: Lecture, 1992. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968-1992. Pp. 255-273. See also Xenophobia and the Indexical Present I: Essay, 1988. pp. 245-251.
27. ^ Adrian Piper: Hypothesis 1969 & 1992. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968–1992. Pp. 19-23.
28. ^ Adrian Piper: Untitled Performance for Max's Kansas City, 1970. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968–1992 , pp. 27–28; Adrian Piper: Talking to Myself, The Ongoing Autobiography of An Art Object . Marilena Bonomo, Bari, Italy 1975; English-Italian, also Fernand Spillemaeckers, Brussels, Belgium: 1974; English France. Printed in Adrian Piper: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968–1992. Pp. 29-55; Sabine Breitwieser (ed. And introduction), Dietrich Karner (preface): Adrian Piper since 1965: Meta art and art criticism. Generali Foundation, Vienna 2002; Dirk Snauwaert (Ed.): Adrian Piper: Textes d'oeuvres et essais. Institut d'art contemporain, Villeurbanne 2003; Mela Dávila (ed.), Sabine Breitwieser (introduction): Adrian Piper desde 1965. MACBA / ACTAR, Barcelona 2003.
29. ^ Adrian Piper: Art for the Artworld Surface Pattern, 1976. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968–1992 , pp. 161–168. Likewise, Jane Farver (ed.): Adrian Piper: Reflections 1967–1987. The Alternative Museum, New York, NY 1987; Elizabeth MacGregor (Ed.): Adrian Piper. Ikon Gallery and Cornerhouse, Birmingham, England 1991; Maurice Berger and Dara Meyers-Kingsley (Eds.): Adrian Piper: A Retrospective. University of Maryland Baltimore County Press, Baltimore 1999.
30. ^ Adrian Piper: Xenophobia and the Indexical Present I: Essay, 1988. In: OUT OF ORDER, OUT OF SIGHT Volume I: Selected Writings in Meta-Art 1968-1992. Pp. 245-251
31. ↑ Jane Farver (Ed.): Adrian Piper: Reflections 1967–1987. The Alternative Museum, New York, NY 1987; Michael Brenson: Adrian Piper. In: The New York Times. May 1, 1987, p. C31; Thomas McEvilley: Adrian Piper. In: Artforum. Volume XXVI, No. 1, September 1987, pp. 128-129; Clive Phillpot: Adrian Piper: Talking to Us. In: Adrian Piper: Reflections 1967-87. Retrospective catalog. The Alternative Museum, New York 1987; Virginia Warren Smith: The Art of Confrontation. In: Atlanta Journal-Constitution. December 6, 1987, pp. 12J-13J; Marsha Hammond: Adrian Piper. In: Art Papers. Vol. 12, No. 2, March / April 1988, pp. 40-41; Mildred Thompson: Interview: Adrian Piper. In: Art Papers. Vol. 12, No. 2, March / April 1988, pp. 27-30; Arlene Raven: Colored. In: The Village Voice. May 31, 1988, p. 92; Marc Lida: Outside Looking In. In: 108 Reviews. Volume 12, May 5 / June 1988, p. 1; Art in America Editorial Board: 1987 in Review. In: Art in America Annual. Volume 76, 1988-89, No. 8, August 1988, p. 53; Wallace Boyd: Image Reveals Personal Art. In: The Emory Wheel. October 18, 1988, p. 8; Mary Anne Staniszewski: Conceptual Art. Flash Art. Volume 143, November / December 1988, p. 88; Patricia Failing: Black Artists Today: A Case of Exclusion? In: Art News. March 1989, pp. 124-131; Lowery Stokes Sims: Mimicry, Xenophobia, Etiquette and Other Social Manifestations: Adrian Piper's Observations from the Margins. In: Adrian Piper: Reflections 1967–1987 . The John Weber Gallery, New York, NY, 1989; Laura U. Marks: Adrian Piper: Reflections 1967-87. In: Fuse. Fall 1990, pp. 40-42.
32. ↑ Commissioned by the John Weber Gallery, New York, and contained in the collection of the Adrian Piper Research Archive, Berlin.
33. ↑ Commissioned by the Whitney Museum of American Art, New York, and contained in the collection of the Whitney Museum
34. ↑ What It's Like, What It Is # 1 was commissioned by the Washington Project for the Arts, Washington, DC and is contained in the collection of the Sackler Center for Feminist Art in the Brooklyn Museum , New York. What It's Like, What It Is # 2 was commissioned by the Hirshhorn Museum and Sculpture Garden , Washington, DC, and is contained in the collection of the Adrian Piper Research Archive, Berlin. What It's Like, What It Is # 3 was commissioned by the Museum of Modern Art , New York, and is contained in the collection of the Adrian Piper Research Archive, Berlin.
35. ↑ Black Box / White Box was commissioned by the Wexner Center for the Arts , Columbus, Ohio, and is contained in the collection of the Generali Foundation, Vienna.
36. ^ Collection of the Studio Museum of Harlem, New York, NY.
37. ↑ Carol Vogel: Inside Art: Philip Morris Loses an Artist. In: The New York Times. November 24, 1995; Walter Robinson: Artworld: Tobacco Road, Part II. In: Art in America. Volume 84, No. 1, January 1996, p. 126; Adrian Piper: Philip Morris' Artworld Fix. In: The Drama Review. Volume 40, No. 4, Winter 1996, pp. 5-6; Adrian Piper: Withdrawal Clarified. In: Art in America. Volume 84, No. 4, April 1996, p. 29.
38. ↑ Käthe Kollwitz Prize - "We are dangerous" - Adrian Piper in the Academy of Arts , August 31, 2018
39. ↑ Goslarer Kaiserring goes to concept artist Piper , deutschlandfunkkultur.de, published and accessed on January 21, 2021.