Adrian Piper

Adrian PiperCornered, 1988

Medium: Video installation with birth certificates; single-channel video, color, sound; monitor; table; chairs
Dimensions: Dimensions variable
Credit Line: Collection Museum of Contemporary Art Chicago. Bernice and Kenneth Newberger Fund (1990.4.a-p). Photo: Nathan Keay, © MCA Chicago

Throughout her career, Adrian Piper has provocatively analyzed cultural biases and their impact on the individual, holding firmly to her conviction that art can operate as a catalyst for change. Cornered entangles viewers spatially and intellectually in the moral, social, and political complexities of racial determination. Positioned defensively in a corner behind an upturned table, the video features the artist speaking directly to viewers, informing them about the history of miscegenation in America and challenging people to honestly address their black ancestry.

Interview with Adrian Piper:

VALIE EXPORT- Genital Panic

sourced from

Action Pants: Genital Panic is a set of six identical posters from a larger group that the artist produced to commemorate an action she performed in Munich in 1968. The posters show EXPORT sitting on a bench against a wall out of doors wearing crotchless trousers and a leather shirt and holding a machine-gun. Her feet are bare and vulnerable, as are her genitals, and she holds the gun at chest level, apparently in readiness to turn it on the viewer towards whom her gaze is directed. Her hair stands up in a wild mop above her head, emphasising the strangeness of the image.

The action that gave rise to the photograph Action Pants: Genital Panic has become the subject of apocryphal art historical legend. EXPORT performed Genital Panic in Munich in an art cinema where experimental film-makers were showing their work. Wearing trousers from which a triangle had been removed at the crotch, the artist walked between the rows of seated viewers, her exposed genitalia at face-level. This confrontation challenged the perceived cliché of women’s historical representation in the cinema as passive objects denied agency. In a 1979 interview with Ruth Askey published in the Los Angeles-based performance magazine High Performance, EXPORT is quoted describing her action as having taken place in a pornographic film theatre. In this version of the story, the artist carried a machine gun and offered her sex to the audience while pointing the gun at people’s heads. As she moved from row to row, people silently got up and left the theatre (High Performance, Vol.4, Issue1, Spring 1981, p.80). Although it fulfils the promise of the image in the poster, this version of events has been emphatically denied by the artist (VALIE EXPORT, p.32).

The performance of actions outside of traditional art venues was a central concern for EXPORT during her early years of art-making. Born and educated in Linz, EXPORT attended an arts and crafts school there before going to Vienna to study textile design. In 1960s Vienna, the artistic avant-garde existed in small groupings such as the Wiener Gruppe, the Viennese Actionists and the experimental film-makers. EXPORT’s earliest works, such as Abstract Film No.1 1967 (Museum Moderner Kunst Stiftung Ludwig, Vienna), played with the medium of film, and in 1968 she was invited to participate in a meeting of international independent film-makers in Munich. During this visit she performed Genital Panic in a cinema and presented another well-known work, Tapp und Taskino (Touch Cinema), on the street. Wearing a wooden box fronted by a curtain on the upper half of her body, EXPORT invited people to reach inside and feel her breasts. Like Genital PanicTouch Cinema forced people to encounter in public parts of the female body that they would normally touch or view in a private space or in darkness, where they would not be observed by unknown others. EXPORT has commented:

I didn’t want to perform in a gallery or a museum, as they were too conservative for me, and would only give conventional responses to my experimental works. It was important for me to present my works to the public, in the public space, and not within an art-conservative space, but in the by then so-called underground … When I was performing my actions in public, on the streets, in the urban space, new and different forms of reception developed. In the streets I provoked new explanations. I wanted to be provocative, to provoke, but also aggression was part of my intention. I wanted to provoke, because I sought to change the people’s way of seeing and thinking … If I hadn’t been provocative, I couldn’t have made visible what I wanted to show. I had to penetrate things to bring them to the exterior.

(Quoted in VALIE EXPORT, pp.148-9.)
The black and white photograph, Action Pants: Genital Panic, was taken by the photographer Peter Hassmann in Vienna in 1969. EXPORT had it screenprinted as a poster in a large edition of unknown size in order to flypost the image in public spaces and on the streets. At the end of the 1960s, the notions of guerrilla warfare and revolution on which it played were particularly pertinent – in 1967, the famous Cuban revolutionary Che Guevara was executed, and the following year students rioted in Paris, and the American cities of Baltimore and Washinton DC were shaken by civil unrest after the murder of Martin Luther King. In 1994 the image was flyposted in Berlin, where EXPORT was teaching at the Hochschüle der Kunste (the Academy of Arts). Tate’s holding of six, which the artist has specified should be exhibited as a group, reflects this history of the image by emphasising its status as a multiple. Another photograph with the same title taken by Hassmann in 1969 shows the artist sitting on a wooden chair next to a wall in a room with a parquet floor. She wears the same outfit and holds the same gun, but she has incongruously feminine sandals on her feet and holds the gun pointing upwards. This version of the image was issued in 2001 as a gelatine print in an edition of twenty. In Action Pants: Genital Panic EXPORT defends her female body with the male phallic symbol of the gun. Her self-exposure emphasises her lack of a penis, demonstrating the symbol of power to be a prosthetic and its possession to be a product of role play, positing action over biology. The combination of macho aggression with femininity is typical of EXPORT’s imagery from the late 1960s and early 1970s.

Further reading:
VALIE EXPORT, exhibition catalogue, Centre national de la photographie, Paris, Musée d’art moderne et contemporain, Geneva and Camden Arts Centre, London 2003, pp.20-22 and 145, reproduced p.14.
VALIE EXPORT: Ob/De+Con(Struction), exhibition catalogue, Moore College of Art and Design, Philadelphia, Santa Monica Museum of Art and Otis School of Art and Design, Los Angeles 2000, pp.13, 18, 32.

Elizabeth Manchester
March 2007

“the voice as performance, act and body”, 2007

Link to website:



Chris Burden

Doomed, 1975

“My performance consisted of three elements: myself, an institutional wall clock, and a 5′ x 8′ sheet of plate glass. The sheet of glass was placed horizontally and leaned against the wall at a 45 degree angle; the clock was placed to the left of the glass at eye level. When the performance began, the clock was running at the correct time. I entered the room and reset the clock to twelve midnight. I crawled into the space between the glass and the wall, and lay on my back. I was prepared to lie in that position indefinitely, until one of the three elements was disturbed or altered. The responsibility for ending the piece rested with the museum staff, but they were unaware of this crucial aspect. The piece ended when [a museum employee] placed a container of water inside the space between the wall and the glass, 45 hours and 10 minutes after the start of the piece. I immediately got up and smashed the face of the clock with a hammer, recording the exact amount of time which had elapsed from beginning to end.”- Chris Burden


Vito Acconci

Vito Acconci, Following Piece, performed in New York City between October 3 and 25, 1969.

Conceived by performance and conceptual artist Vito Acconci, Following Piece was an activity that took place everyday on the streets of New York, between October 3rd and 25th, 1969. It was part of other performance and conceptual events sponsored by the Architectural League of New York that occurred during those three weeks. The terms of the exhibition “Street Works IV” were to do a piece, sometime during the month, that used a street in New York City. So Acconci decided to follow people around the streets and document his following of them. But why would he do this? Why would Acconci follow random people around New York?

Acconci’s work is typical of performance and conceptual art made during this period in the way that he uses his body as the object of his art in order to explore some specific idea. In essence,Following Piece was concerned with the language of our bodies, not so much in a private manner, but in a deeply public manner. By selecting a passer-by at random until they entered a private space, Acconci submitted his own movements to the movements of others, showing how our bodies are themselves always subject to external forces that we may or may not be able to control. In his notes that the artist kept during the performance, Acconci wrote:

Following Piece, potentially, could use all the time allotted and all the space available: I might be following people, all day long, everyday, through all the streets in New York City. In actuality, following episodes ranged from two or three minutes when someone got into a car and I couldn’t grab a taxi, I couldn’t follow – to seven or eight hours – when a person went to a restaurant, a movie.

In terms of the art work, rather than being just another object that we look at in the gallery, Following Piece was part of the revolution that took place in the art world in the late 1960s that tried to bring art out of the gallery and into the street in order to explore real issues such as space, time, and the human body. Many artists, such as Acconci, used their bodies as their chosen medium. Look at some of Acconci’s notes of the period which he wrote before, during and after the event:

•  I need a scheme (follow the scheme, follow a person)

•  I add myself to another person (I give up control/I don’t have to control myself)

•  Subjective relationship; subjunctive relationship

•  A way to get around. (A way to get myself out of the house.) Get into the middle of things.

•  Out of space. Out of time. (My time and space are taken up, out of myself, into a larger system).

All of these ideas were influenced by Acconci’s readings. As many other artists of the period, Acconci wanted to get away from specific art problems and engage with social problems. Acconci read books such as Edward Hall’s The Hidden Dimension (1969), Erving Goffmann’s The Presentation of the Self in Every Day Life (1959), and Kurt Lewin’s In Principles of Topological Psychological (1936/1966). All of these books explored the ways in which the individual and the social are interlinked in terms of complex codes that structure the way we act and live everyday.

With regard to the influence on these texts on Following Piece, Acconci’s use of diagrams specifically refers to Lewin’s notion of “field theory”: that is, a model that sought to explain human behaviour in terms of relations and in relation to its environment and surroundings. Lewin placed behaviour in a “field” in order to examine it in a theoretical manner. The diagrams drawn by Acconci are an imaginative engagement with this idea of human relations as engaging in a specific field or space. So by following someone around New York, Acconci could perhaps experience what it was like to relinquish self control to others and also explore the intersecting systems that grouped different people together in one field. As we can see from the diagrams, Acconci’s intentions were not subjective but much more systematic—they constituted an exploration of the private and public fields that occur in every social space.Vito Acconci, Following Piece, Diagram 1969 ©Vito Acconci, shown courtesy of Vito Acconci

Ironically, for all the effort to get out of the gallery, much of Acconci’s documentation of Following Piece, for example, the texts, photographs (which were taken after the event!), and diagrams, now constitutes a work of art in its own right. MOMA owns several of the photographs of Following Piece and other “versions” of this work are also in existence. So, even though Acconci’s Following Piece was a performance that occurred in a very specific period (3rd to 25th October, 1969), the reproduction and circulation of the work continues. This fact not only teaches us important things about the nature of performance art and its relationship to the art world, but also how the context of the art work is also never exactly fixed and each time it is presented something new occurs with the work itself.

Text by Jp McMahon published on



Acconci Studios: