27H x 25.5W x 2 inches
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage. Iron is one of nature’s most abundant metals. Smith, a philosopher of human detritus and poetic associations, presents it in this work as simultaneously everywhere yet paradoxically forgotten, lost in the heaps of refuse that fill junkyards and vacant lots. She thereby recalls and reclaims something important and elemental—indeed, a material that is integral to the physical fabric of culture and society, one that we associate with incorruptibility and malleability simultaneously.
At a moment when Minimalism and Conceptual Art collided, Southern California-based Alexis Smith began working with discarded street signs, matchbooks, movie posters, and other detritus to become one of the pioneers of conceptual assemblage. Her cryptic comments on the cloudy morality of American culture are derived from pop cultural references including political figures like Richard Nixon, Hollywood films, and pop musicians. This borrowing of literally recycled material and recycled cultural tropes is also seen in the work of Smith’s peers Mike Kelley, Chris Burden, and Vija Celmins.
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
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...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
This work presents the image of an immolated monk engraved on a baseball bat...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points...
Rojas’s two pieces in the Kadist Collection— Untitled (four-legged…) and Untitled (Bird’s Eyes) —are representative of her pictorial style which uses bold colorful blocks of paint and female and animal characters...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...