Since the early 1980s, Cuban-born Tony Labat has been an important participant in the California performance and video scene. A pioneer in video installation, his work often identifies with the “outsider,” whether the artist or the immigrant and comments on displacement and marginalization. Labat has exhibited internationally in venues including the Museum of Contemporary Art, Los Angeles; Laguna Art Museum; the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Palais des Beaux-Arts, Brussels; the National Gallery of Poland; the Helsinki Museum of Art; the Tel Aviv Museum of Art; and the National Gallery of Greece, Athens.
This work needs to be considered in relation to one of his performances during which people were made to queue in front of the Kunsthalle of Frankfurt in 2003 (Tate Collection)...
As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
The Wooden People is a 360º virtual reality film series comprising seven episodes...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Michelle Handelman’s video work Irma Vep, The Last Breath takes its inspiration from Musidora, a famous French silent film actress, and a character she played called Irma Vep, from the film Les Vampires (1915), directed by Louis Feuillade...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...
Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...
In Dorian, a cinematic perfume, video is used as a community gatherer, a tool to speak about particular subcultures, in this case the trans-gender drag queen New York community, past and present...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
Lucas’s quadroquadro (círculo) employs familiar materials for the artist: wood, paper, and glass...
Working independently, Herndon experimented at the forefront of a now-canonical method—appropriation—by painting additions into found images from magazines such as Life and Sports Illustrated in a way that imbues the resulting works with mythical significance...
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...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...