8 Ball Surfboard
1995 - Sculpture (Sculpture)
24H x 7W inches
Alexis Smith
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.
Colors:
Other related works, blended automatically
© » KADIST
Alexis Smith
1990Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
© » KADIST
Lisa Oppenheim
2003The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
© » KADIST
Juan Capistran
2002The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
© » KADIST
Lisa Oppenheim
2003The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
© » KADIST
Chadwick Rantanen
2010Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
© » KADIST
Hank Willis Thomas
2013The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
© » KADIST
Zai Kuning
2014Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
© » KADIST
Bruce Conner
1978In 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...
© » KADIST
Yoan Capote
2007Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...
© » KADIST
Aaron Young
2007The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
© » KADIST
Hank Willis Thomas
2014Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
© » KADIST
Karl Haendel
2011Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
© » KADIST
Lisa Oppenheim
2003The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
© » KADIST
Zai Kuning
2014Concerned 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...
© » KADIST
Donna Conlon and Jonathan Harker
2012In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
© » KADIST
Bruce Conner
2008Unlike 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...
