2:57 minutes
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious. This closed circuit of dominance and submission between two powerful men, is echoed by the closed circuit of the video through which the viewer takes on the role of voyeur. The artist’s presence in the piece not only calls attention to its staging, but inverts the traditional power dynamic of the “male gaze” and gender roles.
Working in video and installation-based performance, Jennifer Locke stages physically intense actions in relation to the camera and specific architecture in order to explore the unstable nature of artist/model/camera/audience hierarchies. These actions focus on cycles of physicality and visibility, and draw from her experiences as a professional dominatrix, champion submission wrestler, and artist’s model. Locke often creates a separation between her live actions and the audience through the use of material barriers, live video feeds, multiple camera perspectives, wireless microphones, and mini-cameras. These audio-visual reiterations produce a ripple effect, flattening, repeating, echoing, amplifying, and displacing the action by turning it —as well as the audience performing its own spectatorship— into an image of itself.
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...
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...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
The fashion designer is selling off all the art inside his West Village townhouse at Sotheby’s New York to make way for a new collection....
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...