35.8H x 49.6W x 49.6D inches
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain. Because individual movement through the maze echoes the movement of neurons and a larger aggregated whole, visitors can be seen to enact a model of sociality and public space that both embodies and metaphorizes social consciousness. Capote’s model shows not just the proposed structure, but features figurines as well, to illustrate the possible scale and interactivity of the final piece.
Yoan Capote’s sculptural work often resembles but alters common forms, such as shoes, ladders, and furniture. Many of Capote’s pieces deal with Cuba and its relationship to the United States, referring to economic and cultural ties. His work also has a strong erotic element, depicting desire both between the countries and embodied sexuality. This facet of Capote’s work combines with and changes the minimalist forms that his pieces often assume, subverting their spareness.
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
Glaze (Savana) (2005) is an assemblage of found materials: a car wheel, a tire, and a wooden plinth of the type traditionally used to display sculpture...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala...
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...
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...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
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...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...