The artist describes the work as “very performative video-pieces but they take on a more sculptural feel. The action is simple: I kick a video camera through a site that is embedded with sociological elements, which I try to question through my practice. I chose Red Square as the site to work in Moscow. The square is interesting as a kind of high/low, new/old dichotomy of a new capitalist regime, with the most expensive World-brands of fashion, design and architecture creeping in like a drug that everyone is forced to take but hasn’t been tested long enough to know the effects. All of this is in direct opposition to an almost outdated value system represented by Lenin’s tomb across the road. After summing up this pyramid of power and history, having it laid out in a square where there can be a final point… me as an American here performing a very minimal, radical action of kicking a camera over time within those parameters. The camera breaks down within three to four minutes, creating a time-based situation: the image that is being recorded disappears kick after kick and visually erases all the embedded history, the politics… the finished work lends itself to a social/cultural amnesia that I find exists in this place.”
Aaron Young’s artworks rely on the aftereffects of dynamic, energetic, and sometimes even dangerous performances. He hires participants stereotyped as marginalized rebels, such as skateboarders and motorcycle riders, to perform various stunts in exhibition spaces on specially prepared platforms—such as the performance Arc Light for the exhibition, for what you are about to receive. Like Steven Parrino, Young uses destructive actions as generative force; the traces of his ephemeral acts are recorded as videos, drawings, sculptures, and photographs to constitute artistic artifacts.
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...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
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...
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...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
The 10 $1 bills that make up From a Whisper to a Scream (2012) read like instructions in origami...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...