Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911. “Bread for all, and Roses, too’—a slogan of the women in the West,” is Oppenheim’s opening line, alluding to the workers’ goal for wages and conditions that would allow them to do more than simply survive. Thomas’ painting includes several black, white, brown, yellow, and red raised fists—clenched and high in the air in the internationally recognized symbol of solidarity, resistance, and unity.
Employing the visual language and terminology of mass media, and appropriating symbols and images from popular culture, Hank Willis Thomas’ work seeks to question and subvert established definitions and positions with regards to personal identity and the narrative of race. Working across installation, photography, video, and media work, Thomas maintains his photo conceptualist roots, primarily taking source material from found photographs and archives. These images form the basis from which the artist seeks to uncover the fallacies that history claims as truth. His work illustrates how the way history is represented and consumed reinforces generalizations surrounding identity, gender, race and ethnicity, and that as an artist he has an opportunity to expose or to revise those histories from the points of view of the oppressed.
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Like many of Pascal Shirley’s photographs, Oakland Girls aestheticizes a dingy rooftop and a cloudy sky...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
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...
Tania Libre is a film by Lynn Hershman Leeson centered around renowned artist Tania Bruguera and her experience as a political artist and activist under the repressive government of her native Cuba...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...