Adrian Piper Born in New York City, USA , in 1948. She lives and works in Berlin, Germany. In the late 1960s, Adrian Piper’s art was classically conceptual...
Brush up on your history and get to know the women who have changed the art world forever.
In this excerpt from Phaidon's 'Art and Feminism,' we examine six radical black feminist artists to know before you see "We Wanted a Revolution."
“Adrian Margaret Smith Piper (born September 20, 1948) is a first-generation Conceptual artist and analytic philosopher who was born in New York City.”Adrian Piper’s “recons…
In this excerpt from Phaidon's 'Art and Feminism,' we examine six radical black feminist artists to know before you see "We Wanted a Revolution."
The exhibitions to see at the Brooklyn Museum, MOMA, and other New York museums this season.
Everyone has heard about the value of "being in the moment," letting thoughts of the past and worries about the future drip away while focusing on the here and now. There are some tried and tested techniques for reaching this state, some of which are easier to engage in than others: practicing yoga, meditating, taking
A fascinating look at over 100 self portrait drawings created between 1484 and today.
Dimensions (Overall): 12.3 Inches (H) x 9.8 Inches (W) x 1.5 Inches (D)Weight: 5.25 PoundsSuggested Age: 22 Years and UpNumber of Pages: 352Genre: ArtSub-Genre: Collections, Catalogs, ExhibitionsPublisher: Museum of Modern ArtTheme: GeneralFormat: HardcoverAuthor: Christophe Cherix & Cornelia Butler & David PlatzkerLanguage: EnglishStreet Date: May 22, 2018TCIN: 82948033UPC: 9781633450493Item Number (DPCI): 247-11-3246Origin: Made in the USA or Imported
Venerable Conceptual artist withdraws from "Radical Presence" at Grey Art Gallery, asserting it marginalizes African American artists
Marking Lévy Gorvy's first solo exhibition with acclaimed conceptual artist and philosopher Adrian Piper (born 1948), this focused presentation includes examples from The Mythic Being series (1973-75), It's Just Art (1980) and Here, an installation work conceived in 2008 and realized for the first time at the gallery. Together, these three bodies of work delve into interrelated themes Piper has explored throughout her career--the intersubjective formation of self, identity, race and gender; racism, sexism, xenophobia and competing conceptions of political responsibility. The book includes an essay by Begum Yasar and Aliza Shvarts, \"Alienation, Too, Has Its Uses,\" which thinks through Piper's writings and works to discuss contemporary manifestations of xenophobia and racism. Also included are a biography of the artist and color plates of the works.
Adrian Piper by appointment from 24 October trough the Winter months Cairn 28 Viewforth Place Pittenweem, Fife KY10 2PZ Scotland tel +44 (0)1333 312285 [email protected] photographs © Cairn, 2010 Adrian Piper – Everything # 21
Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific obj...
Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author. This anthology set, volume 11, includes three issues, numbers 39 through 41: n°39 — A series of cards and performances: My Calling (Card) #1 #2 #3 by Adrian Piper. By Jérôme Dupeyrat My Calling (Card) #1 #2 #3 (1986-1990; 2012), by Adrian Piper (born in 1948), is a series of prints in the form of calling cards and performances designed by the artist as a tool to confront her counterparts with their sexist and racist actions within different relational and social contexts: a dinner, a party, a bar…Similar to other conceptual, performative, relational and textual art works by Adrian Piper that expose dissent and even conflict in order to move past them, the “calling cards” are part of the Piper's approach to identity. Her works confront the responsibility of those who, in the face of this identity, consciously or unconsciously reproduce the mechanisms of discrimination and oppression. 20 pages n°40 — A Collaboration : Les Urbaines & Eurostandard. By Manon Bruet Since opening in 1996, the interdisciplinary festival in Lausanne, Les Urbaines, has collaborated with numerous Swiss graphic designers. Following Guillaume Chuard and Renato Zülli (2011), Maximage (2012–2015), and Daniel Hättenschwiller and Thomas Petit (2016) among others, Eurostandard took charge of the visual identity of the three editions from 2017 to 2019. To constitute this triptych, which had been imagined as a whole, for each event the studio proposed to explore a new technique originally intended to produce deformed selfies. On one hand the use of this procedure allowed them to question modes of self-representation and thus produce a discourse profoundly rooted in its time. On the other, it allowed them to generate unique visuals and to inscribe absolutely their identity in three steps, each one following on from the previous one. This issue provides the opportunity to look back, through the words of the graphic designers as well as their client, at these three years of collaboration, and more broadly, at the festival’s different visual identities which, when taken together, seem to describe a certain landscape of Swiss graphic design. 24 pages n°41 — The Image of Fashion: Forget (fashion) photography? By Aude Fellay Fashion photography has to fight for our attention. Memes, selfies, stories, reels: the competition is fierce—and happening at a time when it seems increasingly difficult to speak of photography at all. Should we grapple with photography anew from the perspective of its afterlife, as some have argued in the field of photographic theory? What would it mean to “forget” fashion photography? By drawing on recent debates about the condition of photography, this essay examines images of fashion and a number of contemporary phenomena that speak to the need to think of the fashion image anew. 20 pages Published by Editions Empire, 2022Bilingual, in French and English64 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inchesISBN: 979-10-95991-41-0
