Gary Gilpatrick, Insulator
2008 - Photography (Photography)
Sharon Lockhart
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. S. naval shipbuilding company—in Maine. Gary Gilpatrick, Insulator (2008) belongs to a group of portrait-like photographs of the shipyard’s workers lunchboxes. Created over the period of a year, Lockhart’s film and accompanying still photographs are intended as an exploration of the social spaces inside this kind of workplace. At the turn of the nineteenth century, the factory was an emblem for the American way of life; today, those same factories and an entire generation of the working class seem on the verge of disappearance as a result of political and economic global capitalism.
Sharon Lockhart is both a filmmaker and a photographer, and she moves seamlessly between the two. All of her work, regardless of medium, offers a prolonged investigation of the subject at hand. The artist’s almost anthropological sensibility leads her to spend months, even years, working with the same community, whether in Bath, Maine, or Lodz, Poland, resulting in provocative and thorough studies of people and places.
Colors:
Other related works, blended automatically
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Sharon Lockhart
2011Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
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Walead Beshty
2012Constructed 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...
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Walead Beshty
2011Constructed 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...
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Yee I-Lann
2013Sarcastically 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...
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Claudia Joskowicz
2008The 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...
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Miljohn Ruperto
2017Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives...
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Catherine Opie
1987Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
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Wong Hoy Cheong
2009Created 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...
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Wolfgang Tillmans
2017Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold...
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Claudia Joskowicz
2014Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
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Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
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Luisa Lambri
2007Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
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Xaviera Simmons
2019Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances...
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Yto Barrada
2007This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
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Juliana Huxtable
2017Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
