148:
321:, it featured large-scale painting, installation and digital works that address anxieties about the impacts of globalisation. Lending its title to the exhibition, the centrepiece of the show is a 70th Anniversary Commission for the Arts Council Collection with Iniva and Bluecoat, consisting of three synchronised high definition video projections, which depict a narrative of economic and social collapse. This was Piper's first monographic show since the retrospective
371:
127:, and been posted on Malta's military base just before Piper's birth. Six months old when he arrived in Britain, Piper was raised in and around Birmingham. He was first attracted to art as a response to the industrialised, decaying landscape of his youth. Quoted in his monograph
162:, 1983), from the late 1980s he became primarily associated with technically innovative work that explored multi-media elements such as computer software, websites, tape/slide, sound and video within an installation-based practice.
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343:
which was presented at the New Art
Gallery in Walsal from January 12-April 24. It was "a set of mixed-media digital montages printed onto white material and intended to serve as protest banners."
131:(1997), he recalls being "interested in the aesthetics of peeling paint, rust and dereliction and the multi-layered look of fly posters when they become torn off". Piper went on to attend
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294:
243:
Piper continued to practise throughout the 1990s, 2000s and 2010s, exhibiting work in prestigious galleries and museums around the world, including, in 1999, the
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274:. His 'Untitled' (1986) painting acquired by Manchester Art Gallery was re-interpreted in 2022 for display as a central work in their Climate Justice Gallery.
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234:, the Institute of International Visual Arts – some of which have exhibited Piper's work. His photography was recognised in the 1992 survey by
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135:, where he gained his B.A.(Hons) degree in Fine Art in 1983, before graduating with a master's degree in Environmental Media at the
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at the Ottawa Art
Gallery. It included a collaborative installation between the two as well as their own separate ones.
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Although Piper’s early and student work made use of traditional fine art media such as paint and canvas (as in
91:(born 1960) is a British artist, curator, critic and academic. He was a founder member of the groundbreaking
751:
218:
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961:"Sonia Boyce & Keith Piper featured artists in No Colour Bar: Black British Art in Action 1960-1990"
266:
Examples of Piper's work are held in numerous public collections, including the Arts
Council Collection
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693:, 1997. "Keith Piper: Relocating the Remains", Institute of International Visual Arts (Iniva).
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in what came to be known as the BLK Art Group. Their politically forthright exhibition
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Piper first came to public attention when, in 1982, while still a student, he joined
132:
112:
56:
259:. In 1998, Piper, along with Ramona Ramlochand collaborated on an exhibition called
837:"Keith Piper and Ramona Ramlochand: Ottawa Art Gallery, September 25 - November 23"
1064:"Keith Piper: Jet Black Futures: New Art Gallery, Walsall, 14 January to 24 April"
960:
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398:. Contentious material about living people that is unsourced or poorly sourced
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642:
Things Done Change: The
Cultural Politics of Recent Black Artists in Britain
1004:"Unearthing the Banker's Bones Keith Piper Exhibition | 01 Apr-11 Jun 2017"
483:
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in and beyond
Britain's art world became a part of the impetus that led to
987:"We are here because you were there: a retrospective of black British art"
752:"Keith Piper: Relocating the Remains Exhibition | 18 Jul 1997-27 Feb 2000"
120:
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and has taught for several years as a Reader in Fine Art at London's
95:, an association of black British art students, mostly based in the
202:
277:
In 2002, Keith Piper was awarded an honorary
Doctorate of Arts at
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111:– a British colony at the time – to a working-class family of
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222:, a seminal survey of African and Asian artists at London's
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The Body and the Screen: Theories of
Internet Spectatorship
267:
1090:"An Artist's Response to a Racist Mural Walks a Fine Line"
764:"Critical Decade: Black British Photography in the 80s",
926:"Keith Piper doctorate page at Wolverhampton University"
360:
974:"No Colour Bar: Black British Art in Action 1960–1990"
685:
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681:
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659:"Keith Piper: on the history of the Black Art Group"
295:
No Colour Bar: Black
British Art in Action 1960–1990
676:
193:in London. In 1983-84 a second touring exhibition,
1038:"Keith Piper: Body Politics.Work from 1982 – 2007"
313:, presented a solo exhibition of Piper's work at
1130:
736:Black British Culture and Society: A Text Reader
292:(1983) was featured in the six-month exhibition
154:(1982), Acrylic on stitched unstretched canvas.
119:, had gone to England in the 1950s, settled in
1125:at the New York New Museum of Contemporary Art
944:"Keith Piper bio page at Middlesex University"
815:
1179:English people of Antigua and Barbuda descent
887:"Manchester Art Gallery page for Keith Piper"
787:
332:was shown from October to December 2019 in
102:
879:
809:
773:
918:
462:Learn how and when to remove this message
209:in London and, again, the Africa Centre.
181:garnered media attention as it toured to
1087:
146:
851:
781:"'Keith Piper: Relocating the Remains'"
746:
744:
722:Oxford Dictionary of National Biography
226:in 1989 as well as the founding of the
1131:
656:
339:In 2022, Piper created the exhibition
290:(You Are Now Entering) Mau Mau Country
185:in Nottingham; King Street Gallery in
115:heritage: his father, originally from
1159:Alumni of Nottingham Trent University
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1081:
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349:, a site-specific commission for the
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963:, ADRI, Middlesex University London.
873:"Tate's artist page for Keith Piper"
865:
841:Parachute: Contemporary Art Magazine
741:
537:Four Corners, A Contest of Opposites
364:
361:Multimedia installations and project
1122:Keith Piper: Relocating the Remains
859:"Art UK - National Collection page"
709:
657:Chemam, Melissa (25 October 2021).
330:Body Politics – Work from 1982–2007
142:
13:
1154:Alumni of the Royal College of Art
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816:Jonathan Jones (31 January 2012).
228:Association of Black Photographers
14:
1195:
1184:20th-century English male artists
1169:21st-century English male artists
1103:
212:However, the group's critique of
1088:Marshall, Alex (12 March 2024).
835:Marks, L. U. (April–June 1998).
725:, Oxford University Press, 2004.
369:
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1036:Page, Laura (10 October 2019).
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818:"Migrations exhibition review"
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245:New Museum of Contemporary Art
1:
1115:Keith Piper, People Directory
799:"Uncomfortable Truths Review"
783:. New Museum Digital Archive.
615:
489:A Fictional Tourist in Europe
325:, produced by Iniva in 1997.
261:The Night Has A Thousand Eyes
1149:English contemporary artists
380:biography of a living person
319:Unearthing the Bankers Bones
7:
567:Another Step into the Arena
400:must be removed immediately
81:http://www.keithpiper.info/
34:1960 (age 63–64)
10:
1200:
1062:Malik, A. (1 March 2022).
1023:"Peoples Directory, Iniva"
249:Victoria and Albert Museum
247:in New York, in 2007, the
179:The Pan-Afrikan Connection
16:British artist (born 1960)
631:, pp. 291. A&C Black.
627:Meigh-Andrews, C., 2013.
495:The Mechanoid's Bloodline
411:"Keith Piper" artist
334:Wolverhampton Art Gallery
288:In 2015–16, Piper's work
230:and the establishment of
152:The Black Assassin Saints
76:
66:
52:
44:
30:
23:
1042:Wolverampton Art Gallery
847:: 47–8 – via Gale.
717:Rodney, Donald Gladstone
279:Wolverhampton University
103:Early life and education
1074:: 27 – via EBSCO.
689:Chandler, David, &
531:The Fictions of Science
905:Manchester Art Gallery
754:. Iniva. 9 March 2017.
629:A History of Video Art
525:Relocating the Remains
394:Please help by adding
323:Relocating the Remains
317:, Liverpool. Entitled
272:Manchester Art Gallery
155:
129:Relocating the Remains
1144:Black British artists
1020:Keith Piper Biography
480:The Rex Whistler Room
389:references or sources
304:Guildhall Art Gallery
207:Battersea Arts Centre
150:
976:, 27 September 2015.
795:Yasmin Alibhai-Brown
770:vol. 2, no. 3, 1992.
640:Chambers, E., 2011.
597:The Devil Finds Work
283:Middlesex University
214:institutional racism
137:Royal College of Art
61:Royal College of Art
1110:Keith Piper website
1010:. 20 December 2016.
797:(9 February 2007).
738:, Psychology Press.
715:Pauline de Souza, "
591:Step into the Arena
585:A Ship Called Jesus
543:Reckless Eyeballing
357:, opened in 2024.
199:Herbert Art Gallery
1094:The New York Times
993:, 7 December 2015.
609:Diaspora Wallchart
561:Transgressive Acts
378:This section of a
328:The retrospective
197:, was held at the
156:
107:Piper was born in
99:region of the UK.
950:on 24 March 2014.
932:on 24 March 2014.
901:"Climate Justice"
734:Owusu, K., 2000.
702:White, M., 2006.
573:Tagging the Other
501:The Exploded City
472:
471:
464:
446:
351:Rex Whistler Room
341:Jet Black Futures
195:The BLK Art Group
191:The Africa Centre
183:Trent Polytechnic
133:Trent Polytechnic
113:African-Caribbean
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160:The Body Politic
143:Career and works
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549:Terrible Spaces
513:Message Carrier
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224:Hayward Gallery
219:The Other Story
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719:(1961–1998)",
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991:New Humanist
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948:the original
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930:the original
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910:27 September
908:. Retrieved
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555:Exotic Signs
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519:Robot Bodies
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484:Tate Britain
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452:January 2014
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355:Tate Britain
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1139:1960 births
1068:Art Monthly
579:Trade Winds
169:, the late
139:in London.
89:Keith Piper
45:Nationality
25:Keith Piper
1133:Categories
1047:31 January
668:31 January
616:References
476:Viva Voce,
422:newspapers
253:Migrations
240:magazine.
121:Birmingham
644:, Rodopi.
383:does not
347:Viva Voce
309:In 2017,
53:Education
315:Bluecoat
270:and the
203:Coventry
1117:, Iniva
478:2024 -
436:scholar
385:include
187:Bristol
123:in the
117:Antigua
77:Website
48:British
663:Art UK
611:, 1987
605:, 1988
599:, 1990
593:, 1991
587:, 1991
581:, 1992
575:, 1992
569:, 1992
563:, 1993
557:, 1993
551:, 1994
545:, 1995
539:, 1995
533:, 1996
527:, 1997
521:, 1998
515:, 1998
509:, 1998
503:, 1998
497:, 2001
491:, 2001
438:
431:
424:
417:
409:
189:; and
1008:iniva
767:Ten.8
443:JSTOR
429:books
311:Iniva
237:Ten.8
232:Iniva
109:Malta
38:Malta
1049:2022
912:2022
670:2022
415:news
387:any
268:Tate
173:and
31:Born
1072:454
353:at
302:'s
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