Institutions in Germany, Canada, and the US have postponed planned exhibitions of the digital media artist’s work after allegations against him surfaced online.
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.
The projection, by artist Krzysztof Wodiczko, will be rescheduled for a later date.
Within Bradford’s “Pickett’s Charge,” there is a rawness, a free construction that flies in the face of popular culture’s insistence on a simplified historical and visual record.
The final event in the Hirshhorn Museum’s Ai Weiwei series will discuss the challenges and necessity of art making amid political turmoil.
Bradford’s installation at the Hirshhorn Museum takes as its subject the ways we think, and ultimately don’t think, about history.