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.
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
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...
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....
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...
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...
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...
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...
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
Ben Shaffer’s Ben Deroy (2007) is part performance, part self-portrait, and part spiritual vision...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...
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....
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...