243.84 x 121.92 cm
Herculine’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. This composition is stuck to a metal plate by a series of button magnets, with interjecting phrases on them. The juxtaposition between the mysogynistic, almost puritan poetry that stripes across the bottom and the powerful crouching pose that the femme demon assumes inverts the hegemonic text , instead creating a space of alterity. The semi-deconstructed book-cover, denotes the seepage of this potential ontological reality (contained within this unwritten book) into the world, allowing Juliana Huxtable’s creation an added layer of possibility.
Writer, artist, performer, and DJ Juliana Huxtable explores intersectional identity through her multidisciplinary practice, which seamlessly blurs the lines that typically separate methods of artistic production. Her work draws from her life experiences, as well as marginalized internet communities, oftentimes featuring hybrid humanoid forms that deeply probe representation of selfhood. In their self-consciously constructed visual ontologies, Huxtable develops a double edged practice that is, on the one hand, a critique of systemic sexist and misogynist power structures, body disassociation and dysmorphia, and on the other, a world-making that frames the radical potential of new technology. Avoiding concrete conclusions, these potentialities become propositions and provocations with which the audience must grapple.
Although best known as a provocateur and portraitist, Opie also photographs landscapes, cityscapes, and architecture...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
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...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Apartment on Cardboard (2000) is an exterior view of an abstracted apartment building...
In 2012, former Guatemalan President José Efran Ros Montt was charged with genocide and crimes against humanity; Regina José Galindo’s video Tierra is a chilling reimagining of the atrocities recounted during his trial...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
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...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...