47.42H inches
Glaze (Savana) (2005) is an assemblage of found materials: a car wheel, a tire, and a wooden plinth of the type traditionally used to display sculpture. It directly engages with the readymade, a subject that Alexandre de Cunha takes up throughout his practice, often inflecting it with a tropical, and South American–inspired materiality and painterly style that could potentially come across as a stereotype. Here, da Cunha transforms the component parts into a composition that highlights often-overlooked materials of artistic production and cultural mass-production.
Alexandre da Cunha reinvents found objects in surprising ways that combine the material characteristics of Arte Povera with the concerns and techniques of painting. Da Cunha’s work often features flags—either as a found material per se or as a constructed form—that reflect the artist’s interest in issues of nationality, governmental politics, allegiance, and culture.
His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth...
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...