30H x 40W inches
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. This visual seal refers to the disastrous aftermath of Hurricane Katrina in 2005 in which rescue workers spray painted the doors of the houses they searched giving the date, the team and the number of bodies found. Excerpt (Sealed) (Brown) is a multilayered collage with contradictory imagery—from New Orleans debris to the American eagle and a theater curtain. This complex network of interwoven signs suggests the unstable and fictional nature of defining of race and class, and in any staging of historical and social narrative.
Stephen G. Rhodes often works in a multiplicity of media that includes painting, sculpture, photography, drawing, and complex animated video installations. Rhodes is deeply interested in deconstructing—through elaborate yet often whimsical narratives that unravel in the exhibition space—American history and mythology.
Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...
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...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
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...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...