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.
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Acting Exercise: Demon Possession is a video by Miljohn Ruperto that addresses notions of performativity, the self, and collective truth...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
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...
Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...
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...
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...
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...
The fashion designer is selling off all the art inside his West Village townhouse at Sotheby’s New York to make way for a new collection....
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...
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...
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...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...