24H x 7W inches
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage. The surfboard, an emblem of Southern California, emblazoned with the image of an eight-ball, references numerous tropes and clichés of American popular culture, specifically subcultures related to pool halls, surfing, and beaches. Indeed, this model-scale surfboard may be a future pop-culture relic, referencing a particular surfer or era of board design.
At a moment when Minimalism and Conceptual Art collided, Southern California-based Alexis Smith began working with discarded street signs, matchbooks, movie posters, and other detritus to become one of the pioneers of conceptual assemblage. Her cryptic comments on the cloudy morality of American culture are derived from pop cultural references including political figures like Richard Nixon, Hollywood films, and pop musicians. This borrowing of literally recycled material and recycled cultural tropes is also seen in the work of Smith’s peers Mike Kelley, Chris Burden, and Vija Celmins.
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...