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...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
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...
Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
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 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...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
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...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
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...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...