30.48 x 58.42 x 13.02 cm.
In Hole #1 a zebra scull stands in as a representation of Africa, while the plexiglass box and the hole made through it represent the inaccessibility of that culture to African-Americans.
Detroit’s Matthew Angelo Harrison works at the intersection of sculpture and technology, building his own 3D printers (which rise to the status of sculpture), and using these creations to formulate others. This fusion makes sense when you look at his biography: born in Detroit and trained in sculpture at the Art Institute of Chicago, Harrison also works, by day, at the Ford Motor Company, creating prototypes for the cars of the future. In his artistic practice, Harrison is interested in mining available—often commercialized—forms of African culture, looking at these artifacts from the point of view of an urban African American in the twenty-first century.
In Bodily Study of Unthinking Groups, Harrison combines two disparate materials into one stratified stack: automotive clay (used in detailing cars) forms the earthy base, while fragments of zebra skull become imbedded in this falsified soil...
The wall installation Friction/Where is Lavatory (2005) plays off anxieties about time but utilizes sound to create a disconcerting experience of viewership: comprised of dozens of wall clocks sutured together, the work presents a monstrous vision of time at its most monumental...
This series of photographs is part of the body of work Allora & Calzadilla made regarding the situation in Vieques, an island off the mainland of Puerto Rico used for the 60 years by the U...
In Bodily Study of Unthinking Groups, Harrison combines two disparate materials into one stratified stack: automotive clay (used in detailing cars) forms the earthy base, while fragments of zebra skull become imbedded in this falsified soil...