88 x 88 cm (each)
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe. They become like abstract paintings that recall Modernist formal experimentation. They are somehow symptomatic of the circulation of goods and people that is made to sound so abstract. The commentaries of two Moroccan children that accompany the images reminds us about the fact that everyday candidates to emigration try to spot these buses that will cross the Strait. Many children hide there and undertake long illicit journeys. As is often the case in her photographs, Yto Barrada chose a square format that conveys immobility despite the reference to transport. They are flat, without perspective, like the numerous walls visible in her work. The loss of depth in things ensures that any pain consciously stays separate from the beauty of the images.
Yto Barrada is an artist of Morrocan origin who has worked for many years in Tangier, a urbanized border town influenced by the West. Her work is articulated around Tangier’s territory and raises questions on the city’s rapid infrastructural changes associated with economical development and real-estate speculation. Tangier, in a sense, is at the point of becoming a Moroccan Costa del Sol. “Le project du détroit,” a work that has granted her international visibility, consists of videos and series of photographs, in attempt to describe a city of transit and in transition. For a considerable amount of time, Tangier was the gate to Europe that Schengen closed in 1991. A meeting point between Europe and Africa, the strait of Gibraltar became a “larger Morrocan cemetary” that refugees and asylum seekers used to cross from Tangier. Her work reminds one of documentary reporting, yet with a poetic vision, far from exoticism and spectacle. In her work, the city’s inhabitants, or their traces, find themselves at the heart of her images. Yto Barrada was born in Tangier in 1971. She lives and works between Tangier and Paris.
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender...
The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram...
Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Video: Catherine Opie on photographing leading British artists | Blog | Royal Academy of Arts Catherine Opie in the RA Collection Gallery Video: Catherine Opie on photographing leading British artists Read more Become a Friend Video: Catherine Opie on photographing leading British artists Published 8 September 2023 Catherine Opie discusses her portraits of David Hockney, Anish Kapoor, Gillian Wearing, Isaac Julien and Lynette Yiadom-Boakye, featured in our free display in the Collection Gallery...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole...