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.
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
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...
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
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....
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...
In 1977, as an already-established artist best known for his films, Bruce Conner began to photograph punk rock shows at Mabuhay Gardens, a San Francisco club and music venue...
In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
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...