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...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
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...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
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...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
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...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
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Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
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...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...