What happens if we take up both Corinne Robins’s recognition of the necessity of critique and Adrian Piper’s vision of generative collaboration?
Citing “cost reasons,” the Haus der Kunst has canceled both retrospectives, choosing to instead host a Markus Lüpertz exhibition, which some say upholds the outdated standards of German art hegemony. This decision follows the controversial ousting of former director Okwui Enwezor.
Piper is the rare artist whose practice is informed by her skills as a philosopher.
In conjunction with the exhibition, the Hammer Museum hosts a day-long symposium on Piper’s vital work.
The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
In her Museum of Modern Art retrospective, Piper makes visible the ways in which we are held in place by other people and their perceptions, and how their perceptions lead to the politics and philosophies that make up our world.
Recent books by Tim Lawrence and Douglas Crimp underline the close relationship between the New York art scene of the 1970s and ’80s and that most unjustly maligned of musical movements, disco.
As a young woman and an emerging artist with a connection to street art, I am trying to understand my identity within the artsphere.
The Probable Trust Registry, a new work by Adrian Piper, is not an exhibit so much as an agreement.
“Be African-American. Be very African American.” Thus reads a typed instruction on an otherwise blank piece of paper sent by veteran performance artist William Pope.L to Clifford Owens as part of Anthology, the latter’s crowd-sourced performance project staged last year at MoMA PS1.
Yesterday afternoon, I ventured out into the bordering on bad weather and braved the gray skies to bring you the latest on Chelsea this November. The gallery district is probably much as you remember it, with high-end galleries showing off their blue chip stables and smaller spaces skipping to keep up. Yet there are still pleasant surprises to be found in the warehouse-strewn streets, from lesser known painters that include (gasp!) a ceramicist to commercial shows that may as well be museum retrospectives. Continue below for the blow-by-blow of my blue-chip Chelsea trip.