Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures. Continuing his fascination with failed modernist utopias, Douglas depicts Michigan Central Station as a monolithic, almost prison-like structure lording over a desolate landscape. Once the hub of industrial transportation, the station is now devoid of any human activity and lies fallow, surrounded by train-less tracks and vegetation-less ground. Douglas’s preoccupation with obsolete sites like this seems less concerned with revisiting or memorializing them than in reviewing the conditions of their failure.
Stan Douglas makes videos and photographs that draw on the legacy of modernism to explore the cultural, social, and political history of the twentieth century. This is evident in his reference to large-scale housing works and other public projects. It also surfaces, perhaps more unexpectedly, in his connections to that period’s cultural production, like the great “auteur” filmmakers and authors, whose grand and utopic artistic projects now seem impoverished.
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
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...
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
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...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
Zanele Muholi’s Potent Portrait of South Africa’s Queer Community | AnOther As their new exhibition opens in San Francisco, Zanele Muholi talks about their powerful photos of queer survivors of hate crimes, couples in everyday moments, and self-portraits referencing history February 02, 2024 Text Emily Steer Zanele Muholi creates potent portraits...
Gabriel Orozco often documents found situations in the natural or urban landscape...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...